Operation Manual
Cristina Bachmann, Heiko Bischoff, Christina Kaboth, Insa Mingers, Matthias Obrecht, Sabine Pfeifer, Kevin Quarshie, Benjamin Schütte 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 11 11 11 Introduction About the Program Versions Typographical Conventions 12 Part I - Getting into the Details 13 13 19 20 21 Setting Up Your System Setting Up Audio Setting Up MIDI Connecting a Synchronizer Setting Up Video 22 22 29 40 VST Connections VST Connections Window Renaming the Hardware Inputs and Outputs Adding Input and Output Busses Adding Child Busses (Cubase Pro only) Presets for Input and Output Busses Adding Group and FX Channels About Monitoring External Instrum
134 134 135 135 136 136 137 139 140 141 141 142 143 143 144 145 145 149 150 160 Track Handling Adding Tracks Removing Tracks Moving Tracks in the Track List Renaming Tracks Coloring Tracks Showing Track Pictures Setting the Track Height Selecting Tracks Duplicating Tracks Disabling Audio Tracks Organizing Tracks in Folder Tracks Handling Overlapping Audio Track Folding How Events are Displayed on Folder Tracks Modifying Event Display on Folder Tracks Working with Lanes Defining the Track Time Base TrackVer
291 293 293 295 297 304 305 305 308 314 318 319 432 432 440 452 459 468 488 320 325 348 350 350 MixConsole Setting Up the MixConsole MixConsole Toolbar Functions Menu Configuring the MixConsole Synchronizing Channel and Track Visibility Finding Channels Linking Channels VCA Faders (Cubase Pro only) Metering (Cubase Pro only) Input Levels Copying and Moving Rack and Channel Settings Fader Section Working with Channel Racks Using Channel Settings Adding Notes to a MixConsole Channel Keyboard Navigation 35
576 576 576 577 577 580 582 584 585 595 Automation Automation Curves Static Value Line Write/Read Automation Writing Automation Data Editing Automation Data Automation Tracks Virgin Territory vs.
836 836 840 841 841 844 848 848 850 853 856 857 858 Chord Pads Chord Pads Zone Functions Menu Preparations Chord Assistant Assigning Chords to Chord Pads Moving and Copying Chord Pads Playing Back and Recording Chords Chord Pad Settings – Remote Control Chord Pad Settings – Players Chord Pad Settings – Pad Layout Chord Pads Presets Creating Events from Chord Pads 859 859 860 861 861 872 873 877 877 878 The Logical Editor, Transformer, and Input Transformer Introduction Opening the Logical Editor Window o
1051 1051 1053 1054 1063 1067 1068 1073 1074 1075 1077 1080 1082 1086 1087 Preferences Preferences Dialog Appearance Editing Event Display General MIDI MediaBay Metering Record Scores (Cubase Pro only) Transport VST VariAudio (Cubase Pro only) Video 1119 1119 1119 1119 1120 1121 1121 Transcribing MIDI recordings About this chapter About transcription Getting the parts ready Preparing parts for score printout Staff settings Situations which require additional techniques 1122 Inserting Display Quantize cha
1163 1163 1163 1165 1168 1168 1169 1169 1172 1172 1173 1175 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 1176 Converting voices to tracks – Extract Voices 1177 1177 1177 1178 1180 1181 1183 1183 1186 1188 1188 1196
1314 1314 1314 1315 The score and MIDI playback About this chapter Scores and the Arranger mode Working with mapped dynamics 1319 1319 1319 1322 1327 Tips and Tricks Overview Useful editing techniques Frequently asked questions If you wish you had a faster computer 1328 Index 10
Introduction About the Program Versions The documentation covers two different operating systems, Windows and Mac OS X. Some features and settings are specific to one of the platforms. This is clearly stated in the applicable cases. If nothing else is said, all descriptions and procedures in the documentation are valid for both Windows and Mac OS X. The screenshots are taken from the Windows version of Cubase.
Part I - Getting into the Details 12
Setting Up Your System Setting Up Audio IIMPORTANT MPORTANT Make sure that all equipment is turned off before making any connections. Simple Stereo Input and Output Setup If you only use a stereo input and output from Cubase, you can connect your audio hardware, for example, the inputs of your audio card or your audio interface, directly to the input source and the outputs to a power amplifier and speaker.
Setting Up Your System Setting Up Audio About Recording Levels and Inputs When you connect your equipment, make sure that the impedance and levels of the audio sources and inputs are matched. Using the correct type of input is important to avoid distortion or noisy recordings. For microphones, for example, different inputs can be used, such as consumer line level (-10 dBV) or professional line level (+4 dBV). Sometimes, you can adjust input characteristics on the audio interface or on its control panel.
Setting Up Your System Setting Up Audio 3. On the ASIO Driver menu, select your audio hardware driver. The selected driver is added to the devices list. 4. In the devices list, select the driver to open the driver settings for your audio hardware. 5. Open the control panel for the audio hardware in the following way: • On Windows operating systems, click the Control Panel button. • On Mac OS X operating systems, click the Open Config App button.
Setting Up Your System Setting Up Audio Audio Channels Lists the available audio channels. Bits Per Sample Shows the number of bits per sample. Sync Reference Shows if the driver is used as sync reference. NOTE To take advantage of DirectX Full Duplex driver, the audio hardware must support Windows Driver Model (WDM).
Setting Up Your System Setting Up Audio NOTE Make sure that any other audio application accessing the audio hardware is also set to release the ASIO or Mac OS X driver. Setting Up Busses Cubase uses a system of input and output busses to transfer audio between the program and the audio hardware. • Input busses let you route audio from the inputs of your audio hardware into Cubase. This means that audio is always recorded through one or several input busses.
Setting Up Your System Setting Up Audio Plug and Play Support for ASIO Devices The Steinberg UR824 hardware series supports plug and play in Cubase. These devices can be plugged in and switched on while the application is running. Cubase automatically uses the driver of the UR824 series and re-maps the VST connections accordingly. Steinberg cannot guarantee that this works with other hardware. If you are unsure of whether your device supports plug and play, refer to the documentation of your device.
Setting Up Your System Setting Up MIDI RELATED LINKS External Monitoring on page 217 Monitoring via Cubase on page 216 ASIO Direct Monitoring on page 217 Setting Up MIDI IIMPORTANT MPORTANT Turn off all equipment before making any connections. PROCEDURE 1. Connect your MIDI equipment (keyboard, MIDI interface, etc.) to your computer. 2. Install the drivers for your MIDI equipment. RESULT You can use your MIDI equipment in Cubase.
Setting Up Your System Connecting a Synchronizer Setting Up All MIDI Inputs When you record MIDI, you can specify which MIDI input each recording MIDI track should use. However, you can also record any MIDI data from any MIDI input. You can specify which inputs are included when you select All MIDI Inputs for a MIDI track. PROCEDURE 1. Select Devices > Device Setup. 2. In the Device Setup dialog, select MIDI Port Setup from the Devices list on the left. 3. Activate In ‘All MIDI Inputs’ for a port.
Setting Up Your System Setting Up Video Setting Up Video Cubase plays back video files in a number of formats, such as AVI, QuickTime, or MPEG. QuickTime is used as the playback engine. Which formats can be played back depends on the video codecs that are installed on your system. There are several ways to play back video, for example, without any special hardware, using a FireWire port, or using dedicated video cards.
VST Connections To play back and record in Cubase, you must set up input and output busses in the VST Connections window. Here, you can also set up group and FX channels, external effects, external instruments, and the Control Room (Cubase Pro only). The bus types that you need depend on your audio hardware, on your general audio setup, for example your surround speaker setup, and on the projects that you use.
VST Connections VST Connections Window Presets Opens the Presets menu, where you can select bus configuration presets. The Store button allows you to save a bus configuration as preset. The deletes the selected preset. Delete button The following columns are available for the bus list: Bus Name Lists the busses. Click the name of a bus to select or rename it. Speakers Indicates the speaker configuration (mono, stereo, surround formats (Cubase Pro only)) of each bus.
VST Connections VST Connections Window +- All Expands/Collapses all busses in the bus list. Add Group Opens the Add Group Channel Track dialog, where you can create a new group channel track. Add FX Opens the Add FX Channel Track dialog, where you can create a new FX channel track. The following columns are available for the bus list: Bus Name Lists the busses. Click the name of a bus to select or rename it.
VST Connections VST Connections Window Bus Name Lists the busses. Click the name of a bus to select or rename it. Speakers Indicates the speaker configuration (mono, stereo, surround formats (Cubase Pro only)) of each bus. Audio Device Shows the currently selected ASIO driver. Device Port Shows which physical inputs/outputs on your audio hardware are used by the bus. Expand the bus entry to show all speaker channels. If the bus entry is collapsed, only the first port that is used by this bus is visible.
VST Connections VST Connections Window Used Whenever you insert an external effect into an audio track, this column shows a checkmark (x) to indicate that the effect is being used. External Instruments Tab (Cubase Pro only) This tab allows you to create input/output busses that can be used to connect external instruments. The following options are available above the bus list: +- All Expands/Collapses all busses in the bus list.
VST Connections VST Connections Window Up to three bus assignments can be displayed in this way. If more connections have been made, this is indicated by a number at the end of the port name. For example, “Adat 1 [Stereo1] [Stereo2] [Stereo3] (+2)” means that the Adat 1 port is already assigned to three stereo busses plus two additional busses. Delay Allows you to enter a value to compensate for an inherent delay (latency) of your hardware effect device during playback.
VST Connections VST Connections Window +- All Expands/Collapses all busses in the bus list. Add Channel Opens a menu where you can select the type of channel that you want to add. You can add the following channels: • External Input • Talkback • Cue • Headphone • Monitor Presets Opens the Presets menu, where you can select bus configuration presets. allows you to save a bus configuration as preset. The The Store button Delete button deletes the selected preset.
VST Connections Renaming the Hardware Inputs and Outputs For example, “Adat 1 [Stereo1] [Stereo2] [Stereo3] (+2)” means that the Adat 1 port is already assigned to three stereo busses plus two additional busses. RELATED LINKS Control Room (Cubase Pro only) on page 352 Renaming the Hardware Inputs and Outputs Before you set up busses, you should rename the default inputs and outputs of your audio hardware. This allows transferring projects between different computers and setups.
VST Connections Adding Input and Output Busses Hiding Ports You can hide ports that you are not using. Hidden ports are not displayed in the VST Connections window. PROCEDURE 1. Select Devices > Device Setup. 2. In the devices list, select your audio card. 3. In the Visible column, deactivate the ports that you want to hide. 4. Click OK. Activating and Deactivating Ports (Mac only) On Mac operating systems, you can specify which input and output ports are active.
VST Connections Adding Child Busses (Cubase Pro only) 5. Click Add Bus. The new bus is added to the bus list. 6. For each of the speaker channels in the bus, click in the Device Port column and select a port of your audio hardware. Setting the Default Output Bus (Main Mix) The Main Mix is the default output bus to which each new audio, group, or FX channel is automatically routed. If only one bus is available, this bus is automatically used as the default output bus. PREREQUISITE Add an output bus.
VST Connections Presets for Input and Output Busses Presets for Input and Output Busses For input and output bus configurations, you can use different kinds of presets. • A number of standard bus configurations. • Automatically created presets tailored to your specific hardware configuration. On startup, Cubase analyzes the physical inputs and outputs that are provided by your audio hardware and creates a number of hardware-dependent presets. • Your own presets.
VST Connections Adding Group and FX Channels Adding Group and FX Channels Group channels and FX channels allow you to group bus configurations. Adding group and FX channels in the VST Connections window is identical to creating group channel tracks or FX channel tracks in the Project window. PROCEDURE 1. In the VST Connections dialog, click the Group/FX tab. 2. Do one of the following: • To create a group channel, click Add Group. • To create an FX channel, click Add FX. 3. Configure the channel.
VST Connections External Instruments and Effects (Cubase Pro only) Requirements • To use external effects, you need audio hardware with multiple inputs and outputs. An external effect requires at least one input and one output or input/output pairs for stereo effects in addition to the input/output ports that you use for recording and monitoring. • To use external instruments, a MIDI interface must be connected to your computer. • Audio hardware with low-latency drivers.
VST Connections External Instruments and Effects (Cubase Pro only) You can also select MIDI Devices > Create Device and create a new MIDI device association. NOTE Delay compensation is only applied for the effect when you use MIDI devices. 5. Click OK. This adds a new external FX bus. 6. Click in the Device Port column for the left and right ports of the send bus and select the outputs of your audio hardware that you want to use. 7.
VST Connections External Instruments and Effects (Cubase Pro only) 3. Select an external effect from the External Plug-ins submenu. External effects are indicated by an x icon in the list next to their names in the Select Insert pop-up menu. RESULT The external FX bus is loaded into the effect slot. A parameter window opens, showing the Delay, Send Gain, and Return Gain settings for the external FX bus. You can adjust these settings while playing back.
VST Connections External Instruments and Effects (Cubase Pro only) Send Gain Allows you to adjust the send gain for the external effect. Return Gain Allows you to adjust the return gain for the external effect. Setting Up External Instruments PROCEDURE 1. In the VST Connections window, click the External Instruments tab. 2. Click Add External Instrument. 3. In the Add External Instrument dialog, enter a name for the external instrument and specify the number of required mono and/or stereo returns.
VST Connections External Instruments and Effects (Cubase Pro only) 4. Click Add Track. RESULT The external instrument is added to the VST instruments list. A parameter window for the external instrument opens. This can either be the device window, that allows you to create a generic device panel, an OPT editor window, or a default editor. External Instruments Parameter Window This window allows you to make delay and gain settings for the selected external instrument.
VST Connections External Instruments and Effects (Cubase Pro only) Sending MIDI Notes to External Instruments PREREQUISITE Set up your external instruments in the VST Connections window and add a MIDI track. PROCEDURE 1. In the Inspector, open the Output Routing pop-up menu for the corresponding MIDI track. 2. Select the MIDI device to which the external instrument is connected.
VST Connections Editing the Bus Configurations When freezing external instruments or effects, you can adjust the corresponding Tail Size value in the Freeze Channel Options dialog. When the Tail Size is set to 0 s, freezing only takes into account the data within the part boundaries.
VST Connections Editing the Bus Configurations Removing Busses PROCEDURE • In the VST Connections window, right-click a bus in the list and select Remove Bus. You can also select the bus and press [Backspace]. Changing Port Assignments You can change the port assignment of busses in the VST Connection window. • To change a port assignment, click in the Device Port column of a bus and select a new port.
VST Connections Editing the Bus Configurations NOTE You can begin renaming from any position in the list. The renaming starts from the bus where you edit the name, goes down the list to the bottom, and then continues from the top until all selected busses have been renamed. Identifying Exclusive Port Assignments For certain channel types, the port assignment is exclusive.
Project Window The Project window provides an overview of the project, and allows you to navigate and perform large scale editing. Each project has one Project window. The Project window is displayed whenever you open or create a new project. • To open a project, select File > Open. • To create a new project, select File > New Project. The Project window is divided into several sections: 1) Toolbar Holds tools and shortcuts for opening other windows and various project settings and functions.
Project Window Toolbar 4) Overview Line Shows events and parts as boxes and allows you to zoom and navigate in the project. 5) Inspector Shows controls and parameters for the first selected track. 6) Global Track Controls Shows the global track controls. 7) Track List Shows the track types and their controls. 8) Ruler Shows the timeline and the display format of the project. 9) Event Display Shows the parts and events of the project. 10) Racks Shows the VST Instruments and the MediaBay.
Project Window Toolbar Media & MixConsole Windows These buttons allow you to open or close the MediaBay, the Pool, the MixConsole, and the Control Room Mixer (Cubase Pro only). State buttons These buttons show the mute, solo, listen, and automation states. Automation Mode Shows the automation mode and allows you to open the Automation panel. Activate Automation Follows Events if you want your automation events to follow automatically when you move an event or part on a track.
Project Window Status Line Quantize Allows you to move recorded audio or MIDI to musical relevant positions. Performance Meter Shows the meters for ASIO time usage and hard disk transfer load. Toolbox The toolbox makes the editing tools from the toolbar available at the mouse pointer position. It can be opened instead of the standard context menus in the event display and editors. • To activate the toolbox function, select File > Preferences > Editing > Tools and activate Pop-up Toolbox on Right-Click.
Project Window Info Line The following information is shown in the status line: Audio Inputs Displays the connection state of your audio inputs. Click in this field to open the VST Connections dialog. Audio Outputs Displays the connection state of your audio outputs. Click in this field to open the VST Connections dialog. Record Time Max Displays the remaining time for recording, depending on your project settings and the available hard disk space.
Project Window Overview Line Editing in the Info Line You can edit almost all event or part data on the info line using regular value editing. If you select several events or parts, the info line is shown in another color and only the information about the first item in the selection is displayed. The following rules apply: • Value changes are applied to all selected elements, relatively to the current values. For example, you have selected two audio events.
Project Window Ruler • To select an independent display format for the ruler, click the arrow button to the right of the ruler and select an option from the pop-up menu. • To set the display format globally for all windows, use the primary display format pop-up on the Transport panel, or hold down [Ctrl]/[Command] and select a display format in any ruler. RELATED LINKS Project Setup Dialog on page 72 Ruler Display Formats You can select a display format for the ruler.
Project Window Inspector fps (User) Hours, minutes, seconds, and frames, with a user-definable number of frames per second. You can also display subframes by activating Show Timecode Subframes (File > Preferences > Transport). You can also set the number of fps. Time Linear Sets the ruler linear to time. Bars+Beats Linear Sets the ruler linear to bars and beats. Inspector The Inspector shows controls and parameters for the first (topmost) selected track type in the track list.
Project Window Inspector Inspector Sections The Inspector is divided into a number of sections that each contain different controls for the track. Not all Inspector sections are shown by default. The available sections depend on the selected track type. • To hide or show sections, click on their names. Clicking the name for a hidden section brings it into view and hides the other sections. • To hide or show a section without closing the other sections, [Ctrl]/[Command]-click the section name.
Project Window Global Track Controls Hidden Items This section displays sections currently hidden in the Inspector. Visible Items This section displays sections currently visible in the Inspector. Pin Allows you to pin the open/close status of the selected Inspector section. Add Allows you to move an item selected in the hidden sections list to the list of visible sections. Remove Allows you to move an item selected in the visible sections list to the list of hidden sections.
Project Window Global Track Controls NOTE You cannot undo visibility changes. Tracks that are hidden through the Track Types filter cannot be shown by clicking the number of visible tracks. 3) Add Track Allows you to add tracks to the track list. 4) Find Tracks Allows you to find and select a specific track in the track list. RELATED LINKS Channel Selector on page 297 Filtering Track Types PROCEDURE 1. Click Filter Track Types above the track list. This opens the track types filter. 2.
Project Window Visibility Finding Tracks The Find Tracks function allows you to find specific tracks. This is useful if you have a large project with many tracks or if you have hidden tracks using the track visibility features. PROCEDURE 1. Click Find Tracks above the track list, to open a selector that lists all tracks. 2. In the search field, enter the name of the track. As you type, the selector updates automatically. 3. In the selector, select the track and press [Return].
Project Window Visibility Showing/Hiding Individual Tracks The Visibility tab shows a list of all current tracks. Here you can show and hide individual tracks. • To show or hide a track in the track list, click a dot to the left of a track. • To activate or deactivate several tracks at the same time, select them and press [Return]. • To show a hidden track exclusively, [Shift]-click the dot. • To expand or collapse a folder, click the triangle to the left of a folder track.
Project Window Track List RELATED LINKS Synchronizing Channel and Track Visibility on page 304 Track List The track list shows the tracks that are used in the project. When a track is added and selected, it contains name fields and settings for this track. • To decide which controls are visible for each track type, right-click the track list and open the Track Controls Settings dialog.
Project Window Event Display Event Display The event display shows the parts and events that are used in the project. They are positioned along the timeline. Racks The racks zone of the project window allows you to display the VST Instruments and the MediaBay. • To show or hide the rack zone, click the Set up Window Layout button on the toolbar and activate or deactivate Racks.
Project Window Zooming in the Project Window • Click the VST Instruments tab to add and edit VST instruments from within the rack zone of the project window. • Click the MediaBay tab to drag audio events and MIDI parts into project window or to drag audio events and MIDI parts from the project window into the MediaBay and store them as audio or MIDI loops. Zooming in the Project Window You can zoom in the Project window according to the standard zoom techniques.
Project Window Zooming in the Project Window Zoom Submenu The Zoom submenu contains options for zooming in the Project window. • To open the Zoom submenu, select Edit > Zoom. The following options are available: Zoom In Zooms in one step, centering on the project cursor. Zoom Out Zooms out one step, centering on the project cursor. Zoom Full Zooms out so that the whole project is visible. The whole project means the timeline from the project start to the length set in the Project Setup dialog.
Project Window Zooming in the Project Window Zoom Presets You can create zoom presets that allow you to set up different zoom settings. For example, one where the whole project is displayed in the Project window and another with a high zoom factor for detailed editing. The Zoom Presets pop-up menu allows you to select, create, and organize zoom presets. • To open the Zoom Presets pop-up menu, click the button to the left of the horizontal zoom control. The upper part of the menu lists the zoom presets.
Project Window Zooming in the Project Window IIMPORTANT MPORTANT Zoom presets are global for all projects. They are available in all projects that you open or create. Zooming In On Cycle Markers You can zoom in on the area between cycle markers in the project. • To zoom in on a cycle marker, click the button to the left of the horizontal zoom control to open a pop-up menu and select a cycle marker. The middle part of the pop-up menu lists any cycle markers that you have added to the project.
Project Window Snap Function Snap Function The Snap function helps you to find exact positions when editing in the Project window. It does this by restricting horizontal movement and positioning to certain positions. Operations affected by Snap include moving, copying, drawing, sizing, splitting, range selection, etc. • To activate/deactivate Snap, activate/deactivate the Snap icon on the toolbar. Setting the Snap Point You can set the snap point at any position of the audio event. PROCEDURE 1.
Project Window Snap Function Snap Types You can select between different snap types to determine the snap point. • To select a snap type, open the Snap Type pop-up menu. The following snap types are available: Grid If this option is activated, the snap points are set with the Grid Type pop-up menu. The options depend on the display format that are selected for the ruler. When you select Seconds as ruler format, the Grid Type contains time-based grid options.
Project Window Cross-Hair Cursor Shuffle Shuffle is useful when you want to change the order of adjacent events. If you have two adjacent events and drag the first one to the right, past the second event, the two events will change places. The same principle works when changing the order of more than two events: 1 2 3 4 5 4 2 5 Dragging event 2 past event 4… 1 3 …changes the order of events 2, 3, and 4. Magnetic Cursor This grid type lets the project cursor become magnetic.
Project Window Edit History Dialog The cross-hair cursor works as follows: • When the Object Selection tool or one of its subtools is selected, the cross-hair cursor appears when you start moving/copying a part/event, or when using the event trim handles. Cross-hair cursor when moving an event. • When the Object Selection tool, the Cut tool, or any other tool that makes use of this function is selected, the cross-hair cursor appears as soon as you move the mouse over the event display.
Project Window Edit History Dialog • To undo your actions, move the horizontal, colored line upwards to the desired position. You can only undo your actions in reverse order, for example, the last performed action is the first action to be undone. • To redo an action that was undone previously, move the line down the list again. RELATED LINKS The Offline Process History dialog on page 418 Setting the Number of Maximum Undo Steps You can limit the number of maximum undo steps.
Project Handling Creating New Projects You can create empty projects or projects that are based on a template. PROCEDURE 1. Select File > New Project. Depending on your settings, either the Steinberg Hub or the Project Assistant dialog opens. 2. 3. In the location options section, select where to store the new project. • To use the default location, select Use default location.
Project Handling Steinberg Hub Steinberg Hub When you start Cubase or create new projects using the File menu, Steinberg Hub opens. Steinberg Hub keeps you up to date with the latest information and assists you with organizing your projects. It consists of the News and Tutorials section and the Projects section. News and Tutorials section The News and Tutorials section displays Steinberg news, tutorial videos as well as links to the user forum, downloads, and Knowledge Base.
Project Handling Project Assistant Template list When you click on one of the category items, the list below the category bar shows the available templates for this category. Any new templates that you create are added at the top of the corresponding list. Location options This section allows you to specify where the project is stored. Open other This button allows you to open any project file on your system. This is identical to using the Open command on the File menu.
Project Handling About Project Files Template list When you click on one of the category items, the list below the category bar shows the available factory templates for this category. Any new templates that you create are added at the top of the corresponding list. Location options This section allows you to specify where the project is stored. Open other This button allows you to open any project file on your system. This is identical to using the Open command from the File menu.
Project Handling About Template Files Template projects are not saved in project folders and therefore contain no subfolders and no media files. • To open the location of a specific template, right-click a template in the template list and select Show in Explorer (Win) or Reveal in Finder (Mac). Saving a Project Template File You can save the current project as a template. When you create a new project, you can select this template as a starting point for your new project.
Project Handling Project Setup Dialog Renaming Templates PROCEDURE 1. In Steinberg Hub or the Project Assistant, right-click a template and select Rename. 2. In the Rename dialog, enter a new name and click OK. Project Setup Dialog You can perform general settings for your project in the Project Setup dialog. • To open the Project Setup dialog, select Project > Project Setup.
Project Handling Project Setup Dialog The following options are available: Author Allows you to specify a project author that is written into the file, when you export audio files and activate the Insert iXML chunk option. You can specify a default author in the Default Author Name field (File > Preferences > General > Personalization). Company Allows you to specify a company name that is written into the file, when you export audio files and activate the Insert iXML chunk option.
Project Handling Project Setup Dialog • If you select a sample rate that your audio hardware supports, but that differs from its current sample rate setting, it is automatically changed to the project sample rate. • If your audio hardware is externally clocked and receives external clock signals, sample rate mismatches are accepted. Bit Resolution Allows you to specify the resolution of the audio files that you record in Cubase.
Project Handling Opening Project Files NOTE If your recorded Wave file is larger than 4 GB and Use RF64 Format is activated on the When Recording Wave Files larger than 4 GB pop-up menu (File > Preferences > Record > Audio), your recording is saved as an RF64 file. This way, you do not have to worry about the file size during recording. However, keep in mind that this format is not supported by all applications.
Project Handling Opening Project Files Activating Projects If you have several projects opened at the same time in Cubase, only one project can be active. The active project is indicated by the lit Activate Project button in the upper left corner of the Project window. If you want to work on another project, you have to activate the other project. PROCEDURE • To activate a project, click its Activate Project button.
Project Handling Saving Project Files Saving Project Files You can save the active project as a project file. To keep your projects as manageable as possible, make sure that you save project files and all related files in the respective project folders. • To save the project and specify a file name and location, open the File menu and select Save As. • To save the project with its current name and location, open the File menu and select Save.
Project Handling Reverting to the Last Saved Version Saving Project Files As a New Version You can create and activate a new version of an active project file. This is useful if you are experimenting with edits and arrangements and want to be able to go back to a previous version at any time. • To save a new version of the active project, press [Ctrl]/[Command]-[Alt]/[Option]-[S]. The new file is saved with the same name as the original project and an attached incremental number.
Project Handling Removing Unused Audio Files Removing Unused Audio Files You can use the Cleanup function to locate and delete unused audio files in the project folders on your disk. PREREQUISITE Make sure that you have not moved or renamed files or folders without updating the project files to use the new paths. Also make sure that the project folder does not contain audio files that belong to projects that are not saved in the project folder. PROCEDURE 1. Close all projects. 2. Select File > Cleanup.
Project Handling Creating Self-Contained Projects Preparing Archives The Prepare Archive function allows you to gather all files that are referenced by your project to ensure that these are in the project folder. This is useful if you want to move or archive your project. PROCEDURE 1. Select Media > Prepare Archive. If your project references external files, you are prompted if you want to copy them to your working directory.
Project Handling Creating Self-Contained Projects Back up Project Options Dialog This dialog allows you to create a backup copy of your project. • To open the Back up Project Options dialog, select File > Back up Project. Project Name Allows you to change the name of the backed up project. Keep Current Project Active Allows you to keep the current project active after clicking OK. Minimize Audio Files Allows you to include only the audio file portions that are actually used in the project.
Tracks Tracks are the building blocks of your project. They allow you to import, add, record, and edit data (parts and events). Tracks are listed from top to bottom in the Track list and extend horizontally across the Project window. Each track is assigned to a particular channel strip in the MixConsole. If you select a track in the Project window, the controls, settings, and parameters displayed in the Inspector and the track list allow you to control the track.
Tracks Audio Tracks Audio Track Inspector The Inspector for audio tracks contains controls and parameters that allow you to edit your audio track. The top section of the audio track Inspector contains the following basic track settings: Track name Click once to show/hide the basic track settings section. Double-click to rename the track. Edit Opens the Channel Settings window for the track. Mute Mutes the track. Solo Solos the track. Read Automation Allows you to read track automation.
Tracks Audio Tracks Toggle Time Base Switches between musical (tempo related) and linear (time related) time base for the track. Lock Disables all editing of all events on the track. Show Lanes Divides the tracks in lanes. Freeze Audio Channel Allows you to freeze the audio channel. Volume Allows you to adjust the level for the track. Pan Allows you to adjust the panning of the track. Delay Allows you to adjust the playback timing of the track.
Tracks Audio Tracks Chords Section Allows you to specify how the track follows the chord track. Inserts Section Allows you to add insert effects to the track. Strip Section Allows you to set up the channel strip modules.
Tracks Audio Tracks Equalizers Section Allows you to adjust the EQs for the track. You can have up to four bands of EQ for each track. Sends Section Allows you to route the track to one or several FX channels. Cue Sends Section (Cubase Pro only) Allows you to route cue mixes to Control Room cues.
Tracks Audio Tracks Direct Routing Section Allows you to set up direct routing. Surround Pan Section (Cubase Pro only) Shows the SurroundPanner for a track (if used). Fader Section Shows a duplicate of the corresponding MixConsole channel. Notepad Section Allows you to enter notes about the track.
Tracks Audio Tracks Device Panel Section (Cubase Pro only) Allows you to display and use device panels. Quick Controls Section Allows you to configure quick controls to use remote devices, for example. Audio Track Controls The Track List for audio tracks contains controls and parameters that allow you to edit your audio track. The track list for audio tracks contains the following controls: Track name Double-click to rename the track. Edit Opens the Channel Settings window for the track.
Tracks Instrument Tracks Monitor Routes incoming signals to the selected output. Toggle Time Base Switches between musical (tempo related) and linear (time related) time base for the track. Lock Disables all editing of all events on the track. Show Lanes Divides the tracks in lanes. Bypass Inserts Bypasses the inserts for the track. Bypass EQs Bypasses the equalizers for the track. Bypass Sends Bypasses the sends for the track. Channel Configuration Shows the channel configuration of the track.
Tracks Instrument Tracks Instrument Track Inspector The Inspector for instrument tracks contains controls and parameters that allow you to control your instrument track. It shows some of the sections from VST instrument channels and MIDI tracks. The top section of the instrument track Inspector contains the following basic track settings: Track name Click once to show/hide the basic track settings section. Double-click to rename the track. Edit Opens the Channel Settings window for the track.
Tracks Instrument Tracks Toggle Time Base Switches between musical (tempo related) and linear (time related) time base for the track. Lock Disables all editing of all events on the track. Freeze Instrument Channel Allows you to freeze the instrument. Volume Allows you to adjust the level for the track. Pan Allows you to adjust the panning of the track. Delay Allows you to adjust the playback timing of the track. Show Lanes Divides the tracks in lanes.
Tracks Instrument Tracks TrackVersions Allows you to create and edit TrackVersions. Chords Section Allows you to specify how the track follows the chord track. Expression Map Section Allows you to use the Expression Map features.
Tracks Instrument Tracks Note Expression Section Allows you to work with the Note Expression features. MIDI Modifiers Section Allows you to transpose or adjust the velocity of the MIDI track events in realtime during playback. MIDI Inserts Section Allows you to add MIDI insert effects.
Tracks Instrument Tracks Instrument Section Shows the audio-related controls for the instrument. Notepad Section Allows you to enter notes about the track. Device Panel Section (Cubase Pro only) Allows you to display and use device panels. Quick Controls Section Allows you to configure quick controls to use remote devices, for example.
Tracks Instrument Tracks Instrument Track Controls The Track List for instrument tracks contains controls and parameters that allow you to edit your instrument track. The track list for instrument tracks contains the following controls: Track name Double-click to rename the track. Edit Opens the Channel Settings window for the track. Mute Mutes the track. Solo Solos the track. Read Automation Allows you to read track automation. Write Automation Allows you to write track automation.
Tracks MIDI Tracks Bypass Sends Bypasses the sends for the track. ASIO Latency Compensation Moves all recorded events on the track by the current latency. Edit In-Place Allows you to edit MIDI events and parts on the track in the Project window. Drum Map Allows you to select a drum map for the track. Programs Allows you to select a program. Instrument Allows you to select an instrument. Edit Instrument Allows you to open the instrument panel. Freeze Channel Allows you to freeze the instrument.
Tracks MIDI Tracks The top section of the MIDI track Inspector contains the following basic track settings: Track name Click once to show/hide the basic track settings section. Double-click to rename the track. Edit Opens the Channel Settings window for the track. Mute Mutes the track. Solo Solos the track. Read Automation Allows you to read track automation. Write Automation Allows you to write track automation. Open Device Panels Allows you to open the instrument panel.
Tracks MIDI Tracks Load/Save/Reload Track Preset Loads or saves a track preset or reverts the default presets. Input Routing Allows you to specify the input bus for the track. Output Routing Allows you to specify the output bus for the track. Channel Allows you to specify the MIDI channel. Edit Instrument Allows you to open the instrument panel. Bank Selector Allows you to set a bank select message that is sent to your MIDI device.
Tracks MIDI Tracks Chords Section Allows you to specify how the track follows the chord track. Expression Map Section Allows you to use the Expression Map features. Note Expression Section Allows you to work with the Note Expression features.
Tracks MIDI Tracks MIDI Modifiers Section Allows you to transpose or adjust the velocity of the MIDI track events in realtime during playback. MIDI Inserts Section Allows you to add MIDI insert effects. MIDI Sends Section Allows you to add MIDI send effects.
Tracks MIDI Tracks MIDI Fader Section Shows a duplicate of the corresponding MixConsole channel. Notepad Section Allows you to enter notes about the track. Device Panel Section (Cubase Pro only) Allows you to display and use device panels. Quick Controls Section Allows you to configure quick controls to use remote devices, for example.
Tracks MIDI Tracks MIDI Track Controls The Track List for MIDI tracks contains controls and parameters that allow you to edit your MIDI track. The track list for MIDI tracks contains the following controls: Track name Click once to show/hide the basic track settings section. Double-click to rename the track. Edit Opens the Channel Settings window for the track. Mute Mutes the track. Solo Solos the track. Read Automation Allows you to read track automation.
Tracks Arranger Track Edit In-Place Allows you to edit MIDI events and parts on the track in the Project window. Drum Map Allows you to select a drum map for the track. Channel Allows you to specify the MIDI channel. Output Allows you to specify the output for the track. Programs Allows you to select a program. Arranger Track You can use the arranger track for arranging your project by marking out sections and determining in which order they are to be played back.
Tracks Arranger Track Arranger Track Inspector The arranger track Inspector displays the lists of available arranger chains and arranger events. The arranger track Inspector contains the following settings: Track Name Double-click to rename the track. Edit Opens the Arranger Editor. Select Active Arranger Chain + Function Allows you to select the active arranger chain, to rename it, to create a new one, to duplicate or to flatten it. Current Arranger Chain Shows the active arranger chain.
Tracks Chord Track Jump mode In this pop-up menu you can define how long the active arranger event is played before jumping to the next one. Arranger Track Controls The Track List for the arranger track contains controls and parameters that allow you to edit the arranger track. The track list for the arranger track contains the following controls: Select Active Arranger Chain Allows you to select the active arranger chain.
Tracks Chord Track Chord Track Inspector The chord track Inspector contains a number of settings for the chord events. The top section of the chord track Inspector contains the following settings: Track name Click to show/hide the basic track settings section. Mute Mutes the track. Record enable Activates the track for recording. Acoustic Feedback Allows you to audition the events on the chord track. For this to work, you need to select a track for auditioning in the track list.
Tracks Chord Track Mapping Offset Allows you to specify an offset value to make sure that chord events also affect the MIDI notes that have been triggered too early (enter a negative value) or too late (enter a positive value). Chord Track Inspector Sections Apart from the basic track settings that are always shown, the chord track provides other Inspector sections. These are described in the following sections. TrackVersions Allows you to create and edit TrackVersions.
Tracks FX Channel Tracks Record Enable Allows you to record chord events. Resolve Display Conflicts Allows you to show all chord events on the track properly, even at low horizontal zoom levels. Show Scales Allows you to show the scale lane in the lower part of the chord track. Lock Disables all editing of all events on the track. Toggle Time Base Switches between musical (tempo related) and linear (time related) time base for the track.
Tracks FX Channel Tracks Edit Opens the Channel Settings window for the track. Mute Mutes the track. Solo Solos the track. Read Automation Allows you to read track automation. Write Automation Allows you to write track automation. Toggle Time Base Switches between musical (tempo related) and linear (time related) time base for the track. Lock Disables all editing of all events on the track. Volume Allows you to adjust the level for the track. Pan Allows you to adjust the panning of the track.
Tracks FX Channel Tracks Strip Section Allows you to set up the channel strip modules. Equalizers Section Allows you to adjust the EQs for the track. You can have up to four bands of EQ for each track. Sends Section Allows you to route the track to one or several FX channels.
Tracks FX Channel Tracks Cue Sends Section (Cubase Pro only) Allows you to route cue mixes to Control Room cues. Direct Routing Section Allows you to set up direct routing. Surround Pan Section (Cubase Pro only) Shows the SurroundPanner for a track (if used).
Tracks FX Channel Tracks Fader Section Shows a duplicate of the corresponding MixConsole channel. Notepad Section Allows you to enter notes about the track. Quick Controls Section Allows you to configure quick controls to use remote devices, for example.
Tracks FX Channel Tracks FX Channel Track Controls The Track List for FX channel tracks contains controls and parameters that allow you to edit the settings for the effect. The track list for FX channel tracks contains the following controls: Track name Click once to show/hide the basic track settings section. Double-click to rename the track. Edit Opens the Channel Settings window for the track. Mute Mutes the track. Solo Solos the track. Read Automation Allows you to read track automation.
Tracks Folder Tracks Channel Configuration Shows the channel configuration of the track. Folder Tracks Folder tracks function as containers for other tracks, making it easier to organize and manage the track structure. They also allow you to edit several tracks at the same time. • To add a folder track to your project, select Project > Add Track > Folder.
Tracks Group Channel Tracks Folder Track Controls The Track List for folder tracks contains controls and parameters that allow you to edit all tracks in the folder. The track list for folder tracks contains the following controls: Expand/Collapse Shows/hides the tracks in the folder. Hidden tracks are played back as usual. Track name Double-click to rename the track. Mute Mutes the track. Solo Solos the track. Record enable Activates the track for recording.
Tracks Group Channel Tracks Group Channel Track Inspector The Inspector for group channel tracks shows the settings for the group channel. The group channel track Inspector contains the following basic track settings: Track name Click once to show/hide the basic track settings section. Double-click to rename the track. Edit Opens the Channel Settings window for the track. Mute Automation Deactivates the automation read function for the selected parameter. Solo Solos the track.
Tracks Group Channel Tracks Group Channel Track Inspector sections Apart from the basic track settings that are always shown, group channel tracks provide other Inspector sections. These are described in the following sections. Inserts Section Allows you to add insert effects to the track. Strip Section Allows you to set up the channel strip modules.
Tracks Group Channel Tracks Equalizers Section Allows you to adjust the EQs for the track. You can have up to four bands of EQ for each track. Sends Section Allows you to route the track to one or several FX channels. Cue Sends Section (Cubase Pro only) Allows you to route cue mixes to Control Room cues.
Tracks Group Channel Tracks Direct Routing Section Allows you to set up direct routing. Surround Pan Section (Cubase Pro only) Shows the SurroundPanner for a track (if used). Fader Section Shows a duplicate of the corresponding MixConsole channel. Notepad Section Allows you to enter notes about the track.
Tracks Group Channel Tracks Quick Controls Section Allows you to configure quick controls to use remote devices, for example. Group Channel Track Controls The Track List for group channel tracks contains controls and parameters that allow you to edit the settings for the group. The track list for group channel tracks contains the following controls: Track name Double-click to rename the track. Edit Opens the Channel Settings window for the track. Mute Mutes the track. Solo Solos the track.
Tracks Marker Track Bypass Inserts Bypasses the inserts for the track. Bypass EQs Bypasses the equalizers for the track. Bypass Sends Bypasses the sends for the track. Channel Configuration Shows the channel configuration of the track. Marker Track You can use the marker track to add and edit markers that help you to locate certain positions quickly. • To add the marker track to your project, select Project > Add Track > Marker. Marker Track Inspector The marker track Inspector displays the marker list.
Tracks Ruler Track Track name Double-click to rename the track. Lock Disables all editing of all events on the track. Locate Allows you to move the project cursor to the selected marker position. Cycle Allows you to select a cycle marker. Zoom Allows you to zoom in a cycle marker. Add Marker Allows you to add a position marker at the project cursor position. Add Cycle Marker Allows you to add a cycle marker at the project cursor position.
Tracks Signature Track Bars+Beats Activates a display format of bars, beats, sixteenth notes, and ticks. By default there are 120 ticks per sixteenth note, but you can adjust this with the MIDI Display Resolution setting in the Preferences dialog (MIDI page). Seconds Activates a display format of hours, minutes, seconds, and milliseconds. Timecode Activates a display format of hours, minutes, seconds, and frames.
Tracks Tempo Track Signature Track Inspector The signature track Inspector displays a list of all time signature events. The signature track Inspector contains the following settings: Signatures list Shows a list of all signature events that allows you to edit signature events and their positions. Signature Track Controls The track list for the signature track contains controls and parameters that allow you to edit the signature track.
Tracks Tempo Track Tempo Track Inspector The tempo track Inspector displays a list of all tempo events. The tempo track Inspector contains the following settings: Edit Opens the Tempo Track Editor. Tempo event list Shows a list of all tempo events that allows you to edit tempo events and their positions. Tempo Track Controls The track list for the tempo track contains controls and parameters that allow you to edit the tempo track.
Tracks Transpose Track Transpose Track You can use the transpose track to set global key changes. • To add the transpose track to your project, select Project > Add Track > Transpose. Transpose Track Inspector The transpose track Inspector contains a number of parameters to control the transpose track.
Tracks VCA Fader Track (Cubase Pro only) Transpose Track Controls The track list for the transpose track contains parameters that allow you to control the transpose track. The track list for the transpose track contains the following settings: Mute Transpose Events Mutes the track. Keep Transpose in Octave Range Allows you to keep the transposition in the octave range and ensures that nothing is transposed by more than seven semitones.
Tracks VCA Fader Track (Cubase Pro only) Solo Solos the track. Read Automation Allows you to read track automation. Write Automation Allows you to write track automation. Toggle Time Base Switches between musical (tempo related) and linear (time related) time base for the track. Lock Disables all editing of all events on the track. Volume Allows you to adjust the level for the track. Fader Section Shows a duplicate of the corresponding MixConsole channel.
Tracks VCA Fader Track (Cubase Pro only) Quick Controls Section Allows you to configure quick controls to use remote devices, for example. VCA Fader Track Controls The track list for VCA fader tracks contains controls and parameters that allow you to edit the settings for the VCA fader. The track list for VCA fader tracks contains the following controls: Mute Mutes the track. Solo Solos the track. Edit Opens the Channel Settings window for the track.
Tracks Video Track Video Track You can use the video track to play back video events. Video files are displayed as events/clips on the video track, with thumbnails representing the frames in the film. • To add a video track to your project, select Project > Add Track > Video. Video Track Inspector The video track Inspector contains a number of parameters to control the video track. The video track Inspector contains the following settings: Reveal Video Window Opens the Video Player window.
Tracks Customizing Track Controls Video Track Controls The track list for the video track contains a number of parameters to control the video track. The track list for the video track contains the following settings: Mute Video Track Mutes the track. Show Frame Numbers Allows you to show each thumbnail with the corresponding video frame number. Show Thumbnails Allows you to activate/deactivate the thumbnails of a video track. Lock Disables all editing of all events on the track.
Tracks Customizing Track Controls Track Type Allows you to select the track type to which your settings are applied. Hidden Controls This section displays controls currently hidden in the track list. Visible Controls This section displays controls currently visible in the track list. Width If you click in this column, you can set the maximum length for the track name. Group Displays the group number. Add Allows you to move an item selected in the hidden controls list to the list of visible controls.
Tracks Customizing Track Controls Group Allows you to group two or more controls selected in the visible controls list that are adjacent to each other. This ensures that they are always positioned side by side in the track list. Ungroup Allows you to ungroup grouped controls in the visible controls list. To remove an entire group, select the first (topmost) element belonging to this group and click the Ungroup button.
Track Handling Adding Tracks PROCEDURE 1. Select Project > Add Track, or right-click the track list. 2. Do one of the following: • Add a track of a specific type. • For some track types a dialog opens that allows you to insert several tracks at once. To add a track based on a track preset, select Add Track Using Track Preset. The Choose Track Preset dialog opens that allows you to select a track preset. The number and type of added tracks depends on the selected track preset.
Track Handling Removing Tracks Configuration Allows you to set the channel configuration. Audio-related tracks can be configured as mono, stereo, or surround tracks (Cubase Pro only). Speakers Shows the speaker names according to the track configuration. Track Name Allows you to specify a track name. Add Track Adds the track and closes the dialog. RELATED LINKS Track Presets on page 160 Removing Tracks You can remove selected or empty tracks from the track list.
Track Handling Renaming Tracks Renaming Tracks PROCEDURE 1. Double-click the track name and type in a new name for the track. 2. Press [Return]. If you want all events on the track to get the same name, hold down any modifier key and press [Return]. AFTER COMPLETING THIS TASK If the Parts Get Track Names option (File > Preferences > Editing) is activated, and you move an event from one track to another, the moved event will automatically be named according to its new track.
Track Handling Showing Track Pictures Showing Track Pictures You can add pictures to tracks to recognize your tracks easily. Track pictures are available for audio, instrument, MIDI, FX channel and group channel tracks. PREREQUISITE Adjust the track height to at least 2 rows. PROCEDURE 1. Right-click any track in the track list. 2. From the track list context menu, select Show Track Pictures. If you move the mouse to the left on a track, a highlighted rectangle appears.
Track Handling Showing Track Pictures Factory Shows the factory content in the pictures browser. Pictures Browser Shows the pictures that you can assign to the selected track/channel. User Shows your user content in the pictures browser. Import Opens a file dialog that allows you to select pictures in bmp, jpeg, or png format and add them to the user library. Remove Selected Pictures from User Library Removes the selected picture from the user library.
Track Handling Setting the Track Height Zoom Allows you to change the size of the track picture. Rotate Allows you to rotate the track picture. Setting the Track Height You can enlarge the track height to show the events on the track in detail, or you can decrease the height of several tracks to get a better overview of your project. • To change the height of an individual track, click its lower border in the track list and drag up or down.
Track Handling Selecting Tracks The following options are available: Zoom Tracks x Rows Zooms all track heights to show the specified number of rows. Zoom Tracks Full Zooms all tracks to fit in the active Project window. Zoom x Tracks Zooms the specified number of tracks to fit in the active Project window. Zoom N Tracks Allows you to set the number of tracks to fit in the active Project window. Zoom Tracks Minimal Zooms all track heights to the minimum size.
Track Handling Duplicating Tracks The following applies: • When this option is deactivated and no event/part is selected in the Project window, the up/down arrow keys on the computer keyboard are used to step through the tracks in the track list. • When this option is deactivated and an event/part is selected in the Project window, the up/down arrow keys still step through the tracks in the track list – but on the currently selected track, the first event/part will automatically be selected as well.
Track Handling Organizing Tracks in Folder Tracks Organizing Tracks in Folder Tracks You can organize your tracks in folders by moving tracks into folder tracks. This allows you to perform editing on several tracks as one entity. Folder tracks can contain any type of track including other folder tracks. • To create a folder track, open the Project menu and in the Add Track submenu select Folder.
Track Handling Handling Overlapping Audio Handling Overlapping Audio The basic rule for audio tracks is that each track can only play back a single audio event at a time. If two or more events overlap, you will only hear one of them: the one that is actually visible (e. g. the last lap of a cycle recording).
Track Handling How Events are Displayed on Folder Tracks Unfold Tracks Unfolds all folder tracks in the Project window. NOTE The behavior of this function depends on the Deep Track Folding setting in the Preferences dialog. Flip Fold States Flips the fold states of the tracks in the Project window. This means that all tracks that were folded in will be unfolded and all unfolded tracks will be folded in, respectively. Move Selected Tracks to New Folder Moves all selected tracks to the folder track.
Track Handling Modifying Event Display on Folder Tracks Modifying Event Display on Folder Tracks You can modify the event display on folder tracks. PROCEDURE 1. Right-click the folder track. 2. On the context menu, select Show Data on Folder Tracks. You have the following options: • Always Show Data • If this option is activated, data blocks or event details are always displayed. Never Show Data • If this option is activated, nothing is displayed.
Track Handling Working with Lanes Lanes are handled differently, depending on whether you work with audio or MIDI: Audio As each audio track can only play back one single audio event at a time, you only hear the take that is activated for playback, for example, the last lap of a cycle recording. MIDI Overlapping MIDI takes (parts) can be played back simultaneously. If you recorded in Mix-Stacked mode, you hear all takes from all cycle laps. Lanes can be reordered, sized, and zoomed like regular tracks.
Track Handling Working with Lanes • To create a new and continuous part of all selected takes that is placed on a single lane, select all takes and select MIDI > Bounce MIDI. • To create a new part and place it on a new track, select MIDI > Merge MIDI in Loop. Finally, clean up the lanes as follows: • Right-click a track and select Create Tracks from Lanes. The lane is converted into a new track.
Track Handling Working with Lanes Operation Comp tool Comp (create a new range and bring it to front, Project window only) Click and drag on a lane. All takes are cut at the range start and end. If the audio takes are adjacent without gaps or fades and the material itself matches, the takes are merged within the range. Audition See left. Press [Ctrl]/[Command] to activate the Speaker tool and click at the position where you want playback to start. Move Click and drag on the main track.
Track Handling Defining the Track Time Base Defining the Track Time Base The time base of a track determines if the events on a track are positioned to bars and beats (musical time base) or to the timeline (linear time base). Changing the playback tempo affects only the time position of events on tracks with a musical time base. PROCEDURE • In the track list, click Toggle Timebase to change the time base.
Track Handling TrackVersions Defining the Default Track Time Base (Cubase Pro only) You can specify the default track time type for new tracks (audio, group/FX, MIDI, and marker tracks). PROCEDURE • Select File > Preferences > Editing and from the Default Track Time Type pop-up menu, select a default track time type. RESULT If you selected Follow Transport Main Display, the primary time format setting on the Transport panel is used.
Track Handling TrackVersions TrackVersions Pop-Up Menu The TrackVersions pop-up menu is available for all track types that support TrackVersions. It contains the most important functions for managing TrackVersions and a TrackVersions list. To open the TrackVersions pop-up menu for a track, click the arrow to the right of the track name.
Track Handling TrackVersions TrackVersions Inspector Section The TrackVersions Inspector section allows you to view and manage TrackVersions for a selected track. It is available for audio tracks, MIDI tracks, instrument tracks, and the chord track. To open the TrackVersions Inspector section for a track, select the track, and in the Inspector, click the TrackVersions tab. 1) Name column Shows the version name. Double-click to change it. The name will be changed for all selected tracks.
Track Handling TrackVersions Creating New TrackVersions You can create new, empty TrackVersions for selected tracks. PROCEDURE 1. In the track list, select the tracks for which you want to create a new TrackVersion. 2. Select Project > TrackVersions > New Version. NOTE You can also use the TrackVersions Inspector (only available for audio tracks, MIDI tracks, instrument tracks, and the chord track) or the TrackVersions pop-up menu in the track list to create a new TrackVersion.
Track Handling TrackVersions Assigning a Common ID TrackVersions on different tracks that were not created together have different TrackVersion IDs. TrackVersions with different IDs cannot be activated together. To do this, you must assign a new version ID to these tracks. PROCEDURE 1. Select the tracks and activate the TrackVersions to which you want to assign a common version ID. 2. Select Project > TrackVersions > Assign Common Version ID.
Track Handling TrackVersions Activating TrackVersions on Multiple Tracks You can simultaneously activate TrackVersions on multiple tracks if these TrackVersions share the same ID. PROCEDURE 1. Select all tracks for which you want to activate a specific TrackVersion. 2. Click the arrow to the right of the track name to open the TrackVersions pop-up menu. 3. Select the TrackVersion that you want to activate from the list.
Track Handling TrackVersions Deleting TrackVersions You can delete the active TrackVersions for the selected tracks. PROCEDURE 1. Select the tracks and activate the TrackVersions that you want to delete. 2. Select Project > TrackVersions > Delete Version. NOTE You can also use the TrackVersions Inspector (audio tracks, MIDI tracks, instrument tracks, and chord track only) or the TrackVersions pop-up menu in the track list to delete the active TrackVersion for selected tracks.
Track Handling TrackVersions Copying and Pasting Selected Events between TrackVersions You can copy and paste selected events between different TrackVersions, even across multiple tracks. PREREQUISITE You have at least 2 TrackVersions, and you have split the corresponding events with the Cut tool, for example. PROCEDURE 1. Select the Object Selection tool. 2. Select the events that you want to copy. 3. Select Edit > Copy. 4. Activate the TrackVersion into which you want to insert the copied events.
Track Handling TrackVersions Renaming a TrackVersion PROCEDURE • In the TrackVersions Inspector section, double-click the TrackVersion name and enter a new name. The name is changed. If the available space in the track list is too small, the name is abbreviated automatically. Renaming TrackVersions on Multiple Tracks PROCEDURE 1. Activate all TrackVersions that you want to rename, and select the corresponding tracks. 2. Select Project > TrackVersions > Rename Version. 3.
Track Handling TrackVersions NOTE If you want to assign the same ID to TrackVersions, select Project > TrackVersions > Assign Common Version ID. TrackVersions vs. Lanes TrackVersions and lanes are individual features that complement each other. Every TrackVersion can have its own set of lanes. Creating Lanes from TrackVersions If your project contains TrackVersions and you want to continue working with lanes, using the Comp tool, for example, you can create lanes from TrackVersions. PROCEDURE 1.
Track Handling Track Presets Track Presets Track presets are templates that can be applied to newly created or existing tracks of the same type. You can create them from virtually all track types (audio, MIDI, instrument, group, FX, VST instument return, input, and output channels). They contain sound and channel settings, and allow you to quickly browse, preview, select, and change sounds, or reuse channel settings across projects. Track presets are organized in the MediaBay.
Track Handling Track Presets • Audio input gain and phase • MIDI insert effects • MIDI track parameters • Input Transformer settings • The VST instrument used for the track • Staff settings • Color settings • Drum map settings MIDI Track Presets You can use MIDI track presets for multi-timbral VST instruments. You can also use them for external instruments. When creating MIDI track presets you can either include the currently set channel or the currently set patch.
Track Handling Track Presets If you select more than one track when creating a track preset, the settings of all selected tracks are saved as one multi-track preset. Multi-track presets can only be applied if the target tracks are of the same type, number, and sequence as the tracks in the track preset, therefore, they should be used in recurring situations with similar tracks and settings. VST Presets VST instrument presets behave like instrument track presets.
Track Handling Track Presets NOTE • Once a track preset is applied, you cannot undo the changes. It is not possible to remove an applied preset from a track and return to the previous state. If you are not satisfied with the track settings, you have to either edit the settings manually or apply another preset. • Applying VST presets to instrument tracks leads to removal of modifiers, MIDI inserts, inserts, or EQs. These settings are not stored in VST presets. Loading Track or VST Presets PROCEDURE 1.
Track Handling Track Presets Loading Inserts and EQ from Track Presets Instead of loading complete track presets, you can also apply insert or equalizer settings from track presets. PROCEDURE 1. Select a track, open the Inspector or the Channel Settings window, and click the VST Sound button on the Inserts or Equalizers tab/section. 2. Select From Track Preset. 3. In the Presets browser, select a track preset. 4. Double-click the preset to load the settings.
Track Handling Track Presets RESULT Track presets are saved within the application folder in the Track Presets folder. They are saved in default subfolders named according to their track type: audio, MIDI, instrument, and multi. RELATED LINKS Attribute Inspector on page 544 Track Quick Control Presets For audio, instrument, MIDI, FX, and group tracks, you can save and load your own Quick Control assignments as presets or use the factory presets.
Parts and Events Parts and events are the basic building blocks in Cubase. The tracks in the Project window contain parts and/or events. Different event types are handled differently in the Project window: • Video events and automation events (curve points) are always viewed and rearranged directly in the Project window. • MIDI events can always be found in MIDI parts, which are containers for one or more MIDI events. MIDI parts are rearranged and manipulated in the Project window.
Parts and Events Audio Handling Audio Handling When you work with audio files, it is crucial to understand how audio is handled in Cubase. When you edit or process audio in the Project window, you always work with an audio clip that is automatically created on import or during recording. This audio clip refers to an audio file on the hard disk that itself remains untouched.
Parts and Events Parts Parts Parts are containers for MIDI or audio events, and for tracks. RELATED LINKS Folder Parts on page 171 Creating MIDI Parts A MIDI part is automatically created when you record. It contains the recorded events. However, you can also create empty MIDI parts and later add events to them. You can create MIDI parts in the following ways: • Draw a part on a MIDI track with the Draw tool. You can also draw parts by pressing [Alt]/[Option] and using the Object Selection tool.
Parts and Events Auditioning Audio Parts and Events • Draw a part on an audio track with the Draw tool. You can also draw parts by pressing [Alt]/[Option] and using the Object Selection tool. • Double-click with the Object Selection tool on an audio track, between the left and right locator. NOTE You can use copy and paste or drag and drop in the Audio Part Editor to add events to existing audio parts.
Parts and Events Scrubbing • Grab audio CD tracks and convert them to audio files. • Use Copy and Paste on the Edit menu. This allows you to copy all kinds of events between projects. You can also copy events within the project, for example, from the Sample Editor. • Draw marker or automation tracks. For audio, MIDI, and instrument tracks, you can only draw parts. • Import audio or video files via the File > Import menu.
Parts and Events Folder Parts 2. Select “Scrub”. 3. Click your event or part and keep the mouse button pressed. The project cursor moves to the position where you click. The mouse pointer is not visible anymore. 4. Drag to the left or right. The project cursor moves correspondingly and the event or part is played back. The speed and thus the pitch of the playback depend on how fast you move the mouse.
Parts and Events Render in Place • To open the editor for the track classes that are present in a folder part, double-click the folder part. All MIDI parts that are located on the tracks within the folder are displayed as if they were on the same track, just like when opening the Key Editor with several MIDI parts selected. To be able to discern the different tracks in the editor, give each track a different color in the Project window and use the Part Colors option in the editor.
Parts and Events Render in Place NOTE You cannot render tracks that are empty, frozen, disabled, or muted. If you want to render an empty track that contains a plug-in, use the Export Audio Mixdown function. RELATED LINKS Creating New Files From Events on page 189 Export Audio Mixdown on page 938 Rendering Tracks You can render selected tracks either with default settings or with custom settings.
Parts and Events Render in Place • Dry (Transfer Channel Settings) • If this is activated, channel settings and automation settings are transferred to the new track. Channel Settings • This is the default setting. If this is activated, all channel settings, such as insert settings, channel strip settings, and EQ settings are rendered into the resulting files. Routing settings are transferred to the new track.
Parts and Events Render in Place • Remove Source Tracks If this is selected, the source tracks are removed from the track list. 8. If you want to hide the source tracks after rendering, activate Hide Source Tracks. To show the tracks again, reactivate them on the Visibility tab in the Project window. 9. Select the File Settings tab to make further changes. 10. Select a Bit Resolution for the resulting file. You can select between 16 bit, 24 bit, and 32 bit float. The default setting is 32 bit float.
Parts and Events Render in Place • As Separate Events • This is the default setting. One or more tracks are created. These contain separate events/parts that are saved as separate audio files. As Block Event • One or more tracks are created. These contain adjacent events/parts that are combined to blocks where applicable. Every block is saved as a separate audio file. As One Event One or more tracks are created. These contain the events/parts that are combined to one event/part where applicable.
Parts and Events Editing Parts and Events 6. 7. If required, use the Tail Size setting to specify extra length in seconds or bars and beats for the resulting files. Specify what happens to the source tracks after rendering. • Keep Source Events Unchanged • If this is selected, the source events/parts remain unchanged. Mute Source Events If this is selected, the source events/parts are automatically muted. This is the default setting.
Parts and Events Editing Parts and Events • Use the Object Selection tool. • Use the Select submenu on the Edit menu. • Right-click on a track and select Select All Events from the context menu. • To select ranges, regardless of the event and track boundaries, use the Range Selection tool. • Use the arrow keys on the computer keyboard.
Parts and Events Editing Parts and Events From Start to Cursor Selects all events that begin to the left of the project cursor. From Cursor to End Selects all events that end to the right of the project cursor. Equal Pitch These are available in the MIDI editors and the Sample Editor. Select Controllers in Note Range This is available in the MIDI editors. All on Selected Tracks Selects all events on the selected track.
Parts and Events Editing Parts and Events • Use the Move to submenu on the Edit menu. • Select the event and edit the start position in the info line. • Use the Nudge buttons on the toolbar. RELATED LINKS Moving with the Object Selection Tool on page 180 “Move to” Submenu on page 180 Moving via the Info Line on page 181 Moving with the Nudge Buttons on page 181 Moving with the Object Selection Tool PROCEDURE 1. In the Project window toolbar, click Object Selection. 2.
Parts and Events Editing Parts and Events Origin Moves the selected events to their original positions, i. e. the positions at which they were originally recorded. Front/Back This function does not actually change the position of the events, but moves the selected events to the front or back, respectively. This is useful if you have overlapping events and want to see one that is partially obscured.
Parts and Events Editing Parts and Events • To give all events on a track the same name as the track, change the track name, hold down a modifier key, and press [Return]. Resizing Events Resizing events means to move their start or end positions individually. The following resizing modes are available: Normal Sizing The contents of the event stay fixed, and the start or end point of the event is moved to “reveal” more or less of the contents.
Parts and Events Editing Parts and Events • Use the Trim buttons (Nudge palette) on the toolbar. This will move the start or end position of the selected events by the amount set on the Grid Type pop-up menu. The sizing type currently selected applies to this method too, with the exception of Sizing Applies Time Stretch which is not possible with this method. • Use the Scrub tool. • Apply time stretch.
Parts and Events Editing Parts and Events Splitting Events You can split events in the Project window in the following ways: • Click with the Cut tool on the event you want to split. If Snap is activated, this determines the exact split position. You can also split events by pressing [Alt]/[Option] and clicking with the Object Selection tool. • Select Edit > Functions > Split at Cursor. This splits the selected events at the position of the project cursor.
Parts and Events Editing Parts and Events Duplicating Events can be duplicated in the following ways: • Hold down [Alt]/[Option] and drag the event to a new position. If Snap is activated, this determines to which positions you can copy the events. NOTE If you hold down [Ctrl]/[Command] as well, movement direction is restricted to either horizontal or vertical. That means if you drag an event vertically it cannot be moved horizontally at the same time.
Parts and Events Editing Parts and Events Fill Loop You can create a number of copies between the right and left locators. • Select Edit > Functions > Fill Loop to create a number of copies starting at the left locator and ending at the right locator. The last copy is automatically shortened to end at the right locator position. Creating Shared Copies You can create shared copies of audio and MIDI parts.
Parts and Events Editing Parts and Events If you edit one of the grouped events in the Project window, all other events in the same group are affected too (if applicable). Group editing operations include: • Selecting events. • Moving and duplicating events. • Resizing events. • Adjusting fade-in and fade-out (audio events only). • Splitting events. Splitting one event will automatically split any other grouped events that are intersected by the split position. • Locking events.
Parts and Events Editing Parts and Events Edit actions in group editing mode affect all grouped events, parts, or ranges. If you select another take by using the small To Front arrow at the right side of one event of an edit group, for example, all other tracks inside the edit group also switch to the corresponding take. This is useful for comparing takes of a multi-track recording. NOTE The group editing setting overwrites any regular group settings in the edit group.
Parts and Events Editing Parts and Events • To unlock an event (turn off all lock options), select the event and select Edit > Unlock. • To lock a whole track, click the padlock symbol in the track list or in the Inspector. This disables all editing of all events on the track. Muting Events You can mute events in the Project window. Muted events can be edited as usual (with the exception of adjusting fades), but are not played back. Muted events are grayed out.
Parts and Events Editing Parts and Events NOTE You can also apply the Bounce Selection function to an audio part. In that case, the audio from all events in the part will be combined into a single audio file. If you select Replace when asked, the part will be replaced with a single audio event playing a clip of the new file. RELATED LINKS Creating fades on page 247 Region Operations Regions are sections within a clip. Regions are best created and edited in the Sample Editor.
Range Editing Editing in the Project window is not restricted to handling whole events and parts. You can also work with selection ranges, which are independent from the event/part and track boundaries. Creating a Selection Range • To make a selection range, drag with the Range Selection tool. When the Range Selection tool is selected, you can select selection ranges options via Edit > Select.
Range Editing Creating a Selection Range Invert Inverts the selection. All selected events are deselected, and all events that were not selected are selected. Only used for event selection. In Loop Makes a selection between the left and right locator on all tracks. From Start to Cursor Makes a selection on all tracks, from the start of the project to the project cursor. From Cursor to End Makes a selection on all tracks, from the project cursor to the end of the project.
Range Editing Editing Selection Ranges Editing Selection Ranges Adjusting the Size of Selection Ranges You can adjust the size of a selection range in the following ways: • By dragging its edges. The pointer takes the shape of a double arrow when you move it over an edge of the selection range. • By holding down [Shift] and clicking. The closest selection range edge will be moved to the position at which you clicked. • By adjusting the selection range start or end position on the info line.
Range Editing Editing Selection Ranges Moving and Duplicating Selection Ranges • To move a selection range, click and drag it to a new position. This will move the contents of the selection range to the new position. If the range intersected events or parts, these are split before moving, so that only the sections within the selection range are affected. • To duplicate a selection range, hold down [Alt]/[Option] and drag.
Range Editing Editing Selection Ranges Paste Time at Origin Pastes the selection range from the clipboard to its original position. Existing events are moved to make room for the pasted data. This option is available in Edit > Range. Global Copy This copies everything in the selection range. This option is available in Edit > Range.
Playback and Transport This chapter describes the methods for controlling playback and transport functions. RELATED LINKS Transport on page 1080 Transport Panel The Transport panel contains the main transport functions as well as many other options related to playback and recording. • To show the transport panel, select Transport > Transport Panel or press [F2].
Playback and Transport Transport Panel Record Mode Determines what happens to your recordings and to any existing events on the track when you are recording. This section also contains the automatic MIDI record quantize function. Locators Allows you to go to the left or right locator position, and to activate Auto Punch In and Auto Punch Out. Furthermore, you can set the left and right locator position numerically and specify a pre-roll and a post-roll value.
Playback and Transport Transport Panel MIDI Activity Allows you to monitor the MIDI input and the MIDI output signals. Audio Activity Allows you to monitor the audio input and output signals. Audio Level Control Shows clipping indicators and an output level control.
Playback and Transport Transport Panel 4. On the transport panel, click the Pre-roll Amount and the Post-roll Amount fields and enter the pre-roll and post-roll values. 5. Activate Use pre-roll and Use post-roll. 6. Activate Record. RESULT The project cursor rolls back by the time specified in the Pre-roll Amount field and playback starts. When the cursor reaches the left locator, recording is automatically activated.
Playback and Transport Transport Menu • To move to another playback position, turn the jog wheel to the left or right. The further you turn the jog wheel, the faster the playback speed. The original playback speed is the fastest speed possible. You can turn the jog wheel as many times as needed to move to a location. If you click the jog wheel during playback, playback automatically stops and scrubbing starts.
Playback and Transport Transport Menu Playback Functions Post-roll from Selection Start/End Starts playback from the beginning or end of the currently selected range and stops after the time set in the post-roll field on the transport panel. Pre-roll to Selection Start/End Starts playback from a position before the start or end of the currently selected range and stops at the selection start or end, respectively. The playback start position is set in the pre-roll field on the transport panel.
Playback and Transport Setting the Project Cursor Position Metronome Functions Metronome Setup Opens the Metronome Setup dialog. Metronome On/Off Activates/Deactivates the metronome click. Precount On/Off Activates/Deactivates the precount. Synchronization Functions Project Synchronization Setup Opens the Project Synchronization Setup dialog. Use External Sync Sets Cubase to be synchronized externally.
Playback and Transport Left and Right Locators • Use the functions on the Transport menu. • Use key commands. NOTE If Snap is activated when dragging the project cursor, the snap value is taken into account. This is helpful for finding exact positions quickly.
Playback and Transport Auto-Scroll • Press [Alt]/[Option] and click at the position in the ruler. • Adjust the Right Locator Position value on the Transport panel. To set the right locator to the project cursor position, do one of the following: • Press [Ctrl]/[Command] and on the numeric keypad press [2]. • Press [Alt]/[Option] and click R on the Transport panel. To set both locators, do one of the following: • Click and drag left or right in the upper half of the ruler.
Playback and Transport Time Formats Selecting the Primary Time Format In the Transport panel, you can select the primary time format. This is the global display format that is used for all rulers and position displays in the program, except the ruler tracks. PROCEDURE 1. In the main transport section of the Transport panel, click Select Primary Time Format. 2. Select a time format from the pop-up menu. You can also select Project > Project Setup > Display Format to select the primary time format.
Playback and Transport Locating to Specific Time Positions Switching the Primary and Secondary Time Format PROCEDURE • In the Main Transport section of the Transport panel, click Exchange Time Format. RESULT The primary and secondary time formats are switched and all rulers and position displays are updated. Locating to Specific Time Positions You have several possibilities to locate to specific time positions in the Project window.
Playback and Transport Metronome Metronome You can use the metronome click as a timing reference. The two parameters that govern the timing of the metronome are tempo and time signature. • To activate the metronome click, activate the Click button on the Transport panel. You can also select Transport > Metronome On or use the corresponding key command. • To activate the precount, click the Precount button on the Transport panel.
Playback and Transport Metronome Precount Options Section In the Precount Options section, the following options are available: Precount Bars Allows you to set the number of bars that the metronome counts in before recording starts. Use Project Count Base Activate this to let the metronome play one click per beat according to the project count base. Use Count Base Activate this to set the rhythm of the metronome. For example, setting this to 1/8, gives you eighth notes (two clicks per beat). Use Time Sign.
Playback and Transport Chase Beeps Allows you to activate beeps generated by the program. Adjust the pitch and level of the beeps for the Hi (first) beat and Lo (other) beats using the sliders below. Sounds Allows you to load audio files for the Hi and Lo metronome sounds in the Sound fields below. The sliders set the level of the click. Chase Chase is a function that makes sure your MIDI instruments sound as they should when you locate to a new position and start playback.
Virtual Keyboard The Virtual Keyboard allows you to play and record MIDI notes by using your computer keyboard or mouse. This is useful if you have no external MIDI instrument at hand and you do not want to draw in notes with the Draw tool. When the Virtual Keyboard is displayed, the usual key commands are blocked because they are reserved for the Virtual Keyboard.
Virtual Keyboard Virtual Keyboard Options AFTER COMPLETING THIS TASK Close the virtual keyboard to make all key commands available again. Virtual Keyboard Options 1) Note Velocity Level This slider allows you to adjust the volume of the virtual keyboard. You can also use the up and down arrow keys for this. 2) Change Virtual Keyboard Display Type This button allows you to switch between computer keyboard and piano keyboard display mode.
Recording In Cubase, you can record audio and MIDI. This chapter assumes that you are familiar with certain basic recording concepts and that some initial preparations have been made. • Set up, connect, and calibrate your audio hardware. • Open a project and set up the project setup parameters according to your specifications. Project setup parameters determine the record format, sample rate, project length, etc. that affect the audio recordings that you make during the course of the project.
Recording Basic Recording Methods NOTE The exact number of audio tracks that you can record simultaneously depends on your computer CPU and hard disk performance. Activate the Warn on Processing Overloads option (File > Preferences > VST) to show a warning message as soon as the CPU overload indicator lights up during recording. RELATED LINKS Editing - Project & MixConsole on page 1061 VST on page 1082 Activating Recording You can activate recording manually or automatically.
Recording Basic Recording Methods Stopping Recording • To stop recording and playback, click the Stop button on the Transport panel or use the corresponding key command, by default [0] on the numeric keypad. • To stop recording and continue playback, click the Record button or use the corresponding key command, by default [*] on the numeric keypad.
Recording Basic Recording Methods Using Pre-Roll and Post-Roll You can set up a pre-roll and a post-roll for recording. PREREQUISITE Select File > Preferences > Transport and activate the Stop after Automatic Punch Out option. PROCEDURE 1. Set the locators to where you want to start and end recording. 2. On the Transport panel, activate Auto Punch In and Auto Punch Out. 3. Activate Use Pre-roll and Use Post-roll. 4. Specify a Pre-roll Amount and a Post-roll Amount. 5. Click Record.
Recording Monitoring Re-Recording PROCEDURE 1. Activate Transport > Re-Record. 2. Activate recording. 3. Hit the Record button again to restart recording. RESULT The project cursor jumps back to the record start position and recording is reinitiated. Pre-roll and pre-count settings are taken into account. NOTE The previous recordings are removed from the project and cannot be retrieved using Undo. However, they remain in the Pool.
Recording Monitoring 3. Select File > Preferences > VST. 4. Open the Auto Monitoring pop-up menu and select a monitoring mode. RESULT The monitored signal will be delayed according to the latency value which depends on your audio hardware and drivers. You can check the latency of your hardware in the Device Setup dialog (Device > Device Setup > VST Audio System). RELATED LINKS VST on page 1082 External Monitoring External monitoring means listening to the input signal before it is sent into Cubase.
Recording Monitoring 3. In the Device Setup dialog, select your driver in the Devices list on the left to display the driver settings for your audio hardware, and activate the Direct Monitoring checkbox. If the checkbox is grayed out, your audio hardware (or its driver) does not support ASIO Direct Monitoring. Consult the audio hardware manufacturer for details. 4. Select File > Preferences > VST. 5. Open the Auto Monitoring pop-up menu and select a monitoring mode. 6.
Recording Audio Recording Specifics 3. In the track list, activate the Monitor button. RESULT Incoming MIDI is echoed back out again. RELATED LINKS MIDI on page 1068 Audio Recording Specifics Preparations Selecting a Record File Format You can set up the record file format, that is the sample rate, bit resolution, and record file type for new audio files. PROCEDURE 1. Select Project > Project Setup. 2. Set up the settings for Sample Rate, Bit Resolution, and Record File Type.
Recording Audio Recording Specifics 4. Navigate to the folder that you want to use as record folder or create a new folder with the New Folder button. If you want to have separate folders for different types of material (speech, ambient sounds, music, etc.), you can create subfolders within the project Audio folder and assign different tracks to different subfolders. This way, all audio files will still reside within the project folder, which will make managing the project easier.
Recording Audio Recording Specifics Selecting an Input Bus for the Track Before you can record on your track, you must add and set up the required input busses and specify from which input bus the track will record. PROCEDURE 1. In the Inspector for the audio track, open the Input Routing pop-up menu. 2. Select an input bus.
Recording Audio Recording Specifics Audio Record Modes By selecting an Audio Record Mode you decide what happens to your recording and to any existing events on the track where you are recording. This is necessary because you will not always record on an empty track. There may be situations where you record over existing events, especially in cycle mode. • To select an Audio Record Mode, click the audio symbol in Record Mode section of the Transport panel and select a record mode.
Recording Audio Recording Specifics Recording a Mix of Separate Tracks You can create a downmix of separate tracks, bass drum, hi-hats, or snare, for example. This is done by selecting an output bus, a group bus, or an FX channel bus as an input for your recording. PROCEDURE 1. Set up your separate tracks and add a group track. 2. For each of the drum tracks, open the Output Routing pop-up menu and select the group track as output. 3.
Recording Audio Recording Specifics Specifying an Audio Pre-Record Time You can capture up to 1 minute of any incoming audio that you play in Stop mode or during playback. This is possible because Cubase can capture audio input in buffer memory, even when not recording. PROCEDURE 1. Select File > Preferences > Record > Audio. 2. Specify a time (up to 60 seconds) in the Audio Pre-Record Seconds field. This activates the buffering of audio input, making pre-record possible. 3.
Recording MIDI Recording Specifics • Do not try to actively bring about this kind of situation to test this feature. Although the internal program processes have been improved to cope with such situations, Steinberg cannot guarantee that other parts of the computer are not damaged as a consequence. MIDI Recording Specifics Preparations The preparations described in the following sections mainly focus on external MIDI devices.
Recording MIDI Recording Specifics Setting the MIDI Input In the Inspector, you set the MIDI input for the track. PROCEDURE 1. In the track list, select the track to which you want to assign a MIDI input. 2. In the topmost Inspector section, open the Input Routing pop-up menu and select an input. The available inputs on the menu depend on the type of MIDI interface that you are using. If you hold down [Shift]-[Alt]/[Option], the selected MIDI input is used for all selected MIDI tracks.
Recording MIDI Recording Specifics Selecting a Sound You can select sounds from within Cubase by instructing the program to send Program Change and Bank Select messages to your MIDI device. PROCEDURE 1. In the track list, select the track to which you want to assign a sound. 2. In the track list or the Inspector, open the Program Selector pop-up menu and select a program. Program Change messages give access to 128 different program locations. 3.
Recording MIDI Recording Specifics Recording Different Types of MIDI Messages You can record different types of MIDI messages. • To specify which event types are recorded, select File > Preferences > MIDI > MIDI Filter and deactivate the options for the type of MIDI message that you want to record.
Recording MIDI Recording Specifics You can record Program Change Messages on their own tracks, separately from the notes to which they belong. As long as you set the two tracks to the same output and MIDI channel, it will appear to the MIDI instrument as if you made the two recordings at the same time. Recording System Exclusive Messages System Exclusive (SysEx) messages are special types of MIDI messages that are used to send data that only makes sense to a unit of a certain make and type.
Recording MIDI Recording Specifics • To select a MIDI Record Mode, click the MIDI symbol in the left section of the Transport panel. • To close the MIDI Record Mode panel again, click anywhere outside the panel. MIDI Record Mode New Parts Existing parts that are overlapped by a new recording are kept. The new recording is saved as a new part. Merge Existing events in parts that are overlapped by a new recording are kept. The newly recorded events are added to the existing part.
Recording MIDI Recording Specifics Keep Last Each completed lap replaces the previously recorded lap. If you deactivate recording or press Stop before the cursor reaches the right locator, the previous take will be kept. If you do not play or input any MIDI during a lap, nothing happens, and the previous take will be kept. Stacked Each recorded cycle lap is turned into a separate MIDI part, and the track is divided into lanes, one for each cycle lap.
Recording Remaining Record Time Enabling Retrospective Record The Retrospective Record setting allows you to capture any MIDI notes that you play in Stop mode or during playback and turn them into a MIDI part after the fact. This is possible because Cubase can capture MIDI input in buffer memory, even when not recording. PROCEDURE 1. Select File > Preferences > Record–MIDI. 2. Enable Retrospective Record and specify a Retrospective Record Buffer Size. This activates the buffering of MIDI input. 3.
Recording Lock Record Lock Record The Lock Record function prevents you from accidentally deactivating the record mode. • Select File > Key Commands and in the Transport category, assign key commands to the Lock Record and Unlock Record commands. If Lock Record is activated and you want to enter Stop mode, a dialog opens in which you need to confirm that you want to stop recording. You can also use the Unlock Record key command first and then enter Stop mode as usual.
Quantizing MIDI and Audio Quantizing means moving recorded audio or MIDI and positioning it on the nearest grid position that is musically relevant. Quantizing is designed to correct errors, but you can also use it in a creative way. You can quantize audio and MIDI to a grid or to a groove. You can also quantize multiple audio tracks simultaneously. Audio and MIDI can be quantized at the same time.
Quantizing MIDI and Audio AudioWarp Quantize (Cubase Pro only) AudioWarp Quantize (Cubase Pro only) If you want to quantize the content of your audio event by applying time stretch, use the “AudioWarp Quantize” function. This function quantizes the audio event by aligning the warp markers to the defined quantize grid. The following happens: • Warp markers are created at hitpoint positions. If no hitpoints are available, they are automatically created.
Quantizing MIDI and Audio Quantizing MIDI Event Starts Quantizing MIDI Event Starts If you select MIDI notes in a part and use the Quantize function on the Edit menu, the MIDI note starts are quantized, that is, the starts of MIDI notes that do not match exact note positions are moved to the closest grid positions. The grid is set up on the Quantize pop-up menu. The note lengths are maintained. NOTE If you quantize MIDI parts, all events are quantized, even if none is selected.
Quantizing MIDI and Audio AudioWarp Quantizing Multiple Audio Tracks (Cubase Pro only) PROCEDURE 1. Create an edit group for the audio tracks that you want to quantize. 2. In the Sample Editor, create hitpoints for at least one of the audio tracks that you want to quantize, and fine-tune the hitpoint detection result with the Threshold slider. 3. Open the Quantize Panel. 4. Set up the parameters in the “Slice Rules” section and click the Slice button. 5.
Quantizing MIDI and Audio Quantize Panel Quantize Panel The Quantize Panel provides further parameters for defining how to quantize audio or MIDI. These parameters allow you to set up a more sophisticated quantization. Using the Quantize Panel, you can quantize audio or MIDI to the grid or to a groove. Depending on what method you choose, different parameters are shown on the Quantize Panel. There is also a set of common settings.
Quantizing MIDI and Audio Quantize Panel Grid Display In the middle of the Quantize Panel the grid display is shown. The green lines indicate the quantize grid, that is, the positions that audio or MIDI is moved to. Randomize This setting allows you to set a distance in ticks, so that your audio or MIDI is quantized to random positions within the specified distance from the quantize grid.
Quantizing MIDI and Audio Quantize Panel Options For Quantizing to a Musical Grid Grid On this pop-up menu you can determine the basic value for the quantize grid. Swing This parameter lets you offset every second position in the grid, creating a swing or shuffle feel. This setting is only available when a straight value is selected for the grid and Tuplet is off (see below).
Quantizing MIDI and Audio Quantize Panel Options for Quantizing to a Groove Groove quantizing is intended for recreating existing rhythmic feels by matching your recorded music to a timing grid generated from a MIDI part or an audio loop. To extract the groove from a MIDI part, from an audio loop, an audio event with hitpoints, or sliced audio, select the material and drag it onto the grid display in the middle of the Quantize Panel. Alternatively, you can use the “Create Groove Quantize Preset” function.
Quantizing MIDI and Audio Quantize Panel Orig. Position If you activate this option, the starting point of the quantizing operation is not the first bar of the project, but the original starting position of the audio or MIDI material used to find the groove. This allows you to synchronize material that does not start from bar 1 of the project.
Quantizing MIDI and Audio Quantize Panel Range Two hitpoints on different tracks are considered to mark the same beat if they are located within a certain distance from each other. The Range parameter lets you specify this distance. The following rules apply: • If one of the tracks has a higher priority, its hitpoint is used as the cutting position. • If the tracks have the same priority, the first hitpoint in the range is used.
Quantizing MIDI and Audio Quantize Panel In some cases, you might want to achieve seamless transitions, applying crossfades after closing the gaps. For this purpose, use the following parameters: Open Crossfade Editor This opens the Crossfade editor, where you can specify curve kind, length, and other parameters for your crossfades. Nudge Crossfade Left/Right Clicking these buttons moves the fade area in the audio event to the left or to the right in steps of one millisecond.
Quantizing MIDI and Audio Additional Quantizing Functions Range Two hitpoints on different tracks are considered to mark the same beat if they are located within a certain distance from each other. The Range parameter lets you specify this distance. The following rules apply: • If one of the tracks has a higher priority, its hitpoint is used to create the warp marker. • If the tracks have the same priority, the first hitpoint in the range is used.
Quantizing MIDI and Audio Additional Quantizing Functions Creating Groove Quantize Presets You can generate a groove quantize map based on hitpoints that you have created in the Sample Editor. PROCEDURE 1. Open the Sample Editor for the audio event from which you want to extract the timing. 2. Create and edit hitpoints. 3. On the Hitpoints tab, click the “Create Groove” button. The groove is extracted.
Fades, crossfades, and envelopes Creating fades There are two types of fade ins and fade outs in audio events in Cubase: event-based fades that you create by using the fade handles and clip-based fades created by processing. RELATED LINKS Event-based fades on page 247 Clip-based fades on page 249 Event-based fades Selected audio events have triangular handles in the upper left and right corners. These can be dragged to create a fade in or fade out, respectively.
Fades, crossfades, and envelopes Creating fades If you adjust the shape of the fade curve in the Fade dialog, this shape will be maintained when you later adjust the length of the fade. • You can make the fade longer or shorter at any time, by dragging the handle. You can do this without selecting the event first, i. e. without visible handles. Just move the mouse pointer along the fade curve until the cursor turns into a bidirectional arrow, then click and drag.
Fades, crossfades, and envelopes Creating fades • If you select a range that reaches the end of an event, a fade out is created in the range. • If you select a range encompassing a middle section of the event, but not reaching neither the start nor the end, a fade in is created from the beginning of the event to the beginning of the selected range, and a fade out is created from the end of the selected range to the end of the event.
Fades, crossfades, and envelopes The Fade dialogs IIMPORTANT MPORTANT The length of the fade area is determined by your selection. In other words, you specify the length of the fade before you open the Fade dialog. You can select multiple events and apply the same processing to all of them simultaneously. • If you later create new events that refer to the same clip, these will have the same fades. • You can remove or modify the fades at any time using the Offline Process History.
Fades, crossfades, and envelopes The Fade dialogs The available options are: Curve Kind These buttons determine whether the fade curve consists of spline curve segments (left button), damped spline segments (middle button), or linear segments (right button). Fade display This shows the shape of the fade curve. The resulting waveform shape is shown in dark gray, with the current waveform shape in light gray. Click on the curve to add points, and click and drag existing points to change the shape.
Fades, crossfades, and envelopes Creating crossfades Applying a fade Depending on whether you are editing a fade made with the fade handles or applying a fade using processing, different buttons are shown in the bottom row of the Fade dialog. The Edit Fade dialogs have the following buttons: OK Applies the set fade curve to the event, and closes the dialog. Cancel Closes the dialog without applying any fade. Apply Applies the set fade curve to the event, without closing the dialog.
Fades, crossfades, and envelopes Creating crossfades NOTE The default crossfade length and shape are set in the Crossfade dialog. • If the events do not overlap but are directly consecutive (lined up end-to-start, with no gap) it is still possible to crossfade them – provided that their respective audio clips overlap! In this case, the two events are resized so that they overlap, and a crossfade of the default length and shape is applied.
Fades, crossfades, and envelopes The Crossfade dialog The Crossfade dialog The Crossfade dialog contains separate, but identical, sections for the fade-in and fade-out curve settings in the crossfade on the left, and common settings on the right: Fade curve displays These displays show the shape of the fade out and fade in curve, respectively. Click on a curve to add points, click and drag existing points to change their shape, or drag a point outside the display to remove it.
Fades, crossfades, and envelopes Auto fades and crossfades • Transport category – StartStop (triggers global playback), Stop (stops global playback) and StartStop Preview (triggers crossfade playback). Pre-roll and Post-roll Activate pre-roll to start playback before the fade area. Activate post-roll to stop playback after the fade area. In the time fields you can enter the desired time (in seconds and milliseconds) for the pre-roll and post-roll length.
Fades, crossfades, and envelopes Auto fades and crossfades Making global Auto Fade settings PROCEDURE 1. To make Auto Fades settings globally for a project, select “Auto Fades Settings…” from the Project menu. This opens the Auto Fades dialog for the project. 2. Use the Length value field to specify the length of the Auto Fades or Crossfades (1 to 500 ms). 3. Use the checkboxes in the upper right corner to activate or deactivate Auto Fade In, Auto Fade Out, and Auto Crossfades. 4.
Fades, crossfades, and envelopes Event envelopes Making Auto Fade settings for individual tracks By default, all audio tracks will use the settings you have made in the project’s Auto Fades dialog. However, since Auto Fades use computing power, a better approach may be to turn Auto Fades off globally and activate them for individual tracks, as needed: PROCEDURE 1.
Fades, crossfades, and envelopes Event envelopes 4. Drag the curve point to adjust the envelope shape. The waveform image reflects the volume curve. • You can add as many curve points as you like. • To remove a curve point from the envelope, click on it and drag it outside the event. • To remove an event envelope curve from a selected event, open the Audio menu and select the Remove Volume Curve option.
Arranger Track Introduction The arranger track allows you to work with sections of your project in a non-linear fashion, to simplify arranging to the maximum extent. Instead of moving, copying and pasting events in the Project window to create a linear project, you can define how different sections are to be played back, like a playlist. For this, you can define arranger events, order them in a list, and add repeats as desired.
Arranger Track Working with arranger events 3. On the Project window toolbar, make sure that Snap is activated and that the Snap Type is set to a mode that allows your arranger events to snap to appropriate positions in the project. Snap to events is activated, i. e. when drawing in the Project window, new events will snap to existing events. 4. On the arranger track, use the Draw tool to draw an event of the desired length. An arranger event is added, called “A” by default.
Arranger Track Working with arranger events Creating an arranger chain You can set up an arranger chain in the Arranger Editor or in the Inspector for the arranger track. The Arranger Editor is opened by clicking the “e” button in the Inspector or in the track list. PROCEDURE 1. Click the “e” button to open the Arranger Editor. On the right in the Arranger Editor, the available arranger events are listed, in the order they appear on the timeline.
Arranger Track Working with arranger events long – to turn our pattern into a “song” (or at least into a basic sketch of the song structure), these files must be looped. This is where the Repeats function comes in. If you want an event to repeat several times, proceed as follows: • Click in the Repeats field for an event, type in the desired number of repeats and press [Enter]. When playing back the arranger chain, the Counter column indicates which repeat of this event is currently playing.
Arranger Track Working with arranger events Editing the arranger chain In the arranger chain on the left, you can do the following: • Select multiple events by [Ctrl]/[Command]-clicking or [Shift]-clicking as usual. • Drag events to move them in the list. • Drag events holding [Alt]/[Option] to create copies of the selected items. The insert location for both move and copy operations is indicated by a colored insertion line.
Arranger Track Flattening the arranger chain Managing arranger chains You can create several arranger chains. This way, you can create alternative versions for playback. In the Arranger Editor, the toolbar buttons on the right are used for this: Click this to rename the current arranger chain. Creates a new, empty arranger chain. Creates a duplicate of the current arranger chain, containing the same events. Removes the currently selected arranger chain.
Arranger Track Flattening the arranger chain 2. Activate Playback. The project will now play back exactly as in Arranger mode, but you can view it and work with it as usual. IMPORTANT Flattening the arranger chain may remove events and parts from the project. Only use the Flatten function when you know you do not want to edit the arranger track/chain any more. If in doubt, save a copy of the project before flattening the arranger chain.
Arranger Track Flattening the arranger chain Checked Chains… If you activate this option, you can select the arranger chains you want to flatten in the list to the left. All Chains If you activate this option, all arranger chains of the current project will be flattened. The Destination section allows you to choose where the result of the flattening is saved. The available options are: Current Project This is only available if you have selected “Current Chain” as Source.
Arranger Track Live mode Live mode If you have set up an arranger track and play it back, you have also the possibility to influence the playback order “live”. Note that the Arranger mode has to be activated to be able to use the Live mode. PROCEDURE 1. Set up an arranger chain in the Inspector or in the Arranger Editor for an arranger track, activate the Arranger mode and play back your project.
Arranger Track Live mode Jump Mode options In the Jump Mode pop-up menu, you can define how long the active arranger event will be played, before jumping to the next one. The following options are available: None Jumps to the next section immediately. 4 bars, 2 bars When one of these modes is selected, a grid of 4 or 2 bars (depending on the setting) will be placed on the active arranger event. Whenever the respective grid line is reached, playback will jump to the next arranger event.
Arranger Track Arranging your music to video When an event is shorter than 4 (or 2) bars and this mode is selected, playback will jump to the next section at the event end. 1 bar Jumps to the next section at the next bar line. 1 beat Jumps to the next section at the next beat. End Plays the current section to the end, then jumps to the next section. You can stop Live mode by clicking the Stop button or go back to “normal” playback in Arranger mode by clicking on any arranger event in the upper list.
Arranger Track Arranging your music to video 6. Start at 00:01:10:00 (within the range of what originally was “B”). In your project, the position 00:01:10:00 will be located and you will hear “A” playing, because it plays twice in the arranger track. 7. Start external timecode at position 00:02:10:00 (within the range of what originally was “C”). In your project, the position 00:02:10:00 will be located and you will hear “B” playing, because it plays “later” in the arranger track.
Transpose Functions Cubase offers transpose functions for audio, MIDI and instrument parts and for audio events. These allow you to create variations of your music or change the harmonics of an entire project or separate sections. Transpose can be applied on three levels: • To the entire project By changing the project Root Key on the Project window toolbar, the whole project will be transposed.
Transpose Functions Transposing your music Transposing your music In the following sections we will describe the different possibilities of transposing your music. Note that these can also be combined. However, we recommend you to set the root key first, before recording or changing transpose values on the transpose track. IIMPORTANT MPORTANT As a general rule, always set the root key first when you work with content with a defined root key.
Transpose Functions Transposing your music The entire project will be played back with this root key. To do so, the separate loops are transposed to match the project root key. For example, if you have imported a bass loop in C and the project root key is set to E, the bass loop will be transposed up by 4 semitones. 3. With the root key set, record some audio or MIDI. The recorded events will get the project root key. 4.
Transpose Functions Transposing your music IMPORTANT If you work with drums or percussion, exclude these from being transposed by setting the “Global Transpose” setting on the info line to “Independent”. RELATED LINKS The Global Transpose setting on page 277 Recording with a project root key Let’s say that you want to record a guitar line for a project that is in D# minor, but your guitar player prefers to play in A minor.
Transpose Functions Transposing your music To check or change the root key setting of a MIDI part, proceed as follows: 1) Select your MIDI part in the Project window and check the Project window info line. A MIDI part with the root key set to “D” 2) Click on the root key value in the info line to open the corresponding pop-up menu and select the desired root key.
Transpose Functions Transposing your music 3. To create another transpose event, click with the Draw tool on the first transpose event. By default, the transpose value of new transpose events is set to 0. You can add more transpose events by clicking with the Draw tool. 4. Click in the transpose value field and enter the transpose value for the transpose event.
Transpose Functions Other functions Other functions Indicate Transpositions When you transpose your music using the transpose track, you may sometimes want to visually compare the original sounds and the transposed music. For MIDI parts, you can check this by opening the Key Editor and clicking the “Indicate Transpositions” button. This will help you to see how your MIDI notes will be transposed.
Transpose Functions Other functions Proceed as follows: 1) Open your project. 2) Select the desired event or part and set the “Global Transpose” setting on the info line to “Independent”. A symbol will be displayed in the upper right corner of the selected part or event, indicating that it will not be transposed neither by changing the root key nor by specifying transpose events. If Global Transpose is set to Independent, the selected part will not be transposed.
Transpose Functions Other functions Locking the transpose track If you want to prevent your transpose events from being changed by mistake, activate the Lock button on the transpose track. This way, you will not be able to move your transpose events or change their transpose values. Muting transpose events Sometimes it might be useful to disable the transpose track, e. g. to hear the original sound of individual tracks.
Transpose Functions Other functions 3. Make sure that the “Keep Transpose in Octave Range” button is activated on the transpose track and change the transpose value of the transpose event to 7. Your chord will be transposed accordingly. If you enter a transpose value of 7, your chord will be transposed by seven semitones upwards. In this example, this would be G3/D4/F#4. 4. Set the transpose value to 8 semitones.
Markers Markers are used to locate certain positions quickly. There are two types of markers: position markers and cycle markers. If you often find yourself jumping to a specific position within a project, you should insert a marker at this position. You can also use markers to make range selections or for zooming. Markers are located on the marker track. Position Markers Position markers allow you to save a specific position.
Markers Cycle Markers Setting the Locators Using Cycle Markers Cycle markers represent ranges in your project. You can use them for moving the left and right locators. PROCEDURE • To set the left locator to the cycle marker start and the right locator to the cycle marker end, perform one of the following actions: • Double-click on a cycle marker. • From the Cycle pop-up menu in the track list, select a cycle marker. RESULT The left and right locators are moved to encompass the cycle marker.
Markers Markers Window Markers Window In the Markers window you can view and edit markers. The markers on the marker track are displayed in the marker list in the order in which they occur in the project. To open the Markers window, you have the following possibilities: • Select Project > Markers. • On the Transport panel in the marker section, click Show. • Use a key command (by default [Ctrl]/[Command]-[M]). 1) Locate arrow Indicates which marker is at the project cursor position.
Markers Markers Window Editing in the Markers Window In the Markers window you can select, edit, add, move, and remove markers. • To select a marker, click on it. • To edit a selected marker, click on it. Select multiple markers by [Shift] or [Ctrl]/[Command]-clicking them. • To add a position marker at the cursor position, select Functions > Insert Marker. A position marker is added at the current project cursor position on the marker track.
Markers Markers Window • To adjust the width of a column, place the mouse pointer between two column headers and drag left or right. NOTE No matter by which attribute you sort, the second sort criterion will always be the position attribute. Marker Preferences You can access the marker preferences by clicking the corresponding button in the bottom left corner of the Markers window.
Markers Markers Window Length In this column you can view and edit the length of cycle markers. Description Here you can enter names or descriptions for markers. RELATED LINKS Marker IDs on page 287 Cycle Markers on page 281 Editing Attributes • To edit a marker attribute, select the corresponding marker, click in the desired attribute column, and make your settings. • To change the attributes of several markers, select the markers and click the checkbox for the desired attribute.
Markers Marker Track Marker IDs Each time you add a marker, it is automatically and sequentially assigned an ID number, starting from 1. IDs for cycle markers are shown in brackets and start from [1]. ID numbers can be changed at any time – this allows you to assign specific markers to key commands. NOTE If you move a marker from one marker track to another by drag & drop in the Project window and the marker ID is already used on this track, the inserted marker automatically gets a new ID.
Markers Marker Track 4) Cycle pop-up menu If you select a cycle marker in this pop-up menu, the left and right locators are set to the corresponding cycle marker. 5) Zoom pop-up menu If you select a cycle marker in this pop-up menu, the view zooms to the corresponding cycle marker. 6) Lock Locks the marker track. When a marker track is locked, you cannot edit the track and its markers. 7) Toggle Time Base Sets the track time base. 8) Marker event (inactive) Shows an inactive marker event.
Markers Importing and Exporting Markers • To move a marker, select it and drag it. You can also edit marker positions on the info line. • To remove a marker, select it and press [Delete] or use the Erase tool. Using Markers to Select Ranges Markers can be used in conjunction with the Range Selection tool to make range selections in the Project window. This is useful if you quickly want to make a selection that spans all tracks in the project. PROCEDURE 1.
Markers Importing and Exporting Markers Exporting Markers via MIDI You can export your markers as part of a MIDI file. • To include any markers in the MIDI file, activate Export Markers in the Export Options dialog. The following settings are exported: • The start position of position markers and cycle markers. NOTE To be able to export markers via MIDI export, your project must contain a marker track.
MixConsole The MixConsole provides a common environment for producing mixes in stereo or surround. It allows you to control level, pan, solo/mute status, etc. for audio and MIDI channels. Furthermore, it is a convenient environment for setting up the input and output routing for multiple tracks or channels at the same time. To open the MixConsole, you have the following options: • Press [F3]. • Select Devices > MixConsole. • On the Project window toolbar, click Open MixConsole .
MixConsole The MixConsole is divided into several sections: 1) Channel Selector Allows you to set up the visibility and positions of channels in the fader section. 2) Fader Section The fader section is the heart of the MixConsole. It is always visible and shows all channels in the same order as in the track list. 3) Channel Overview Displays all channels as boxes.
MixConsole Setting Up the MixConsole 5) Equalizer Curve Allows you to draw an EQ curve. Click in the curve display to open a larger view where you can edit the curve points. 6) Channel Racks Allows you to show additional channel controls as needed. 7) Control Room/Meter Opens the Control Room/Meters section (Cubase Pro only). 8) Pictures Opens the Pictures section that allows you to add a picture to the selected channel. Pictures can help you identify your MixConsole channels quickly.
MixConsole MixConsole Toolbar Find Track/Channel Opens a selector that lists all tracks/channels. Filter Channel Types Opens the channel filter that allows you to show/hide all channels of a certain channel type. Channel Visibility Configurations Allows you to create configurations that are useful for switching quickly between different visibility setups. Channel Visibility Agents Allows you to select channels with specific properties. Show Channel Racks Activates/Deactivates the rack selector.
MixConsole Functions Menu Functions Menu Opens the Functions Menu, that allows you to make settings in the MixConsole. Functions Menu The Functions menu holds tools and shortcuts for settings and functions in the MixConsole. • To open the Functions Menu, click the Functions Menu button in the top right corner of the MixConsole. Scroll to Selected Channel If this option is activated and you select a channel in the Visibility tab, the selected channel is automatically displayed in the Fader section.
MixConsole Functions Menu Save Selected Channels Saves the settings for the selected channels. Load Selected Channels Loads the settings for the selected channels. Global Meter Settings Opens a submenu where you can set up the global meter settings. Reset MixConsole Channels Allows you to reset EQ, insert, and send effect settings for all or selected channels. Solo and mute buttons are deactivated, the volume fader is set to 0 dB, and pan is set to the center position.
MixConsole Configuring the MixConsole 2. Select Functions > Load Selected Channels. 3. In the Load Selected Channels dialog, select the .vmx settings file and click Open. RESULT The channel settings are applied to the selected channels. NOTE When you apply loaded MixConsole settings to fewer channels, some of the saved settings are not applied.
MixConsole Configuring the MixConsole • To lock channels on the left/right of the fader section, activate the left/right dots next to the channel names. Locked channels are excluded from scrolling and are always visible. Input Routing Configurations for Mono Channels • Mono input busses or individual channels within a stereo or surround input bus (Cubase Pro only). • External inputs configured on the Studio tab of the VST Connections window.
MixConsole Configuring the MixConsole Input Routing Configurations for Surround Channels (Cubase Pro only) • Surround input busses. • External inputs that are configured on the Studio tab of the VST Connections window. These must have the same input configuration. • Output busses. These must have the same input configuration and should not lead to feedback.
MixConsole Configuring the MixConsole Rack Selector The rack selector allows you to activate specific MixConsole functions, such as routing, insert, or send handling, that are organized in racks. • To activate the rack selector, activate Show Channel Racks. Channel Racks You can activate and deactivate the different channel racks in the MixConsole. • To open the Select Racks pop-up menu, click Select Racks.
MixConsole Configuring the MixConsole Device Panels (Cubase Pro only) Allows you to view the available device panels. Rack Settings The Rack Settings pop-up menu allows you to make settings for the racks. • To open the Rack Settings pop-up menu, click *. Exclusive Expanded Rack Shows the selected rack exclusively and collapses the other racks. Fixed Number of Slots Shows all available slots for the Inserts, Sends, Cues, and Quick Controls racks.
MixConsole Configuring the MixConsole Channel Visibility Configurations The Channel Visibility Configurations button on the MixConsole toolbar allows you to create configurations that are useful for switching quickly between different visibility setups. The button displays the name of the active configuration. A list of configurations is shown as soon as you create at least one configuration. To load a configuration, select it from this list. Channel visibility configurations are saved with the project.
MixConsole Configuring the MixConsole Channel Visibility Agents Channel visibility agents allow you to show or hide all channels, selected channels, or channels with certain properties. To open the Channel Visibility Agents pop-up menu, do one of the following: • Click the Channel Visibility Agents button on the toolbar. • In the Channel Selector, open the Visibility tab and right-click to open the context menu.
MixConsole Synchronizing Channel and Track Visibility Undoing/Redoing Visibility Changes You can undo/redo up to 10 visibility changes. PROCEDURE 1. In the MixConsole toolbar, click the Channel Visibility Agents button. 2. Select Undo Visibility Change or Redo Visibility Change. Synchronizing Channel and Track Visibility You can synchronize the channel visibility in the MixConsole with the track visibility in the Project window. PROCEDURE 1.
MixConsole Finding Channels Finding Channels The Find Track/Channel function allows you to find specific channels. This is useful if you have a large project with many channels or if you have hidden channels using the visibility features. PROCEDURE 1. Click Find Track/Channel in the MixConsole toolbar to open a selector that lists all channels. 2. In the search field, enter the name of the channel. As you type, the selector filters automatically. 3.
MixConsole Linking Channels On the display line, you can change the name of the link group by double-clicking and entering a different name. If you hold down a modifier key and double-click the name, the Link Group Settings dialog opens. NOTE If you use a VCA fader for the link group, the displayed link group name on the fader is also changed. The pop-up menu provides the following options: Unlink Selected Channels Only available for a selected link group.
MixConsole Linking Channels NOTE If you link groups, insert and channel strip module linking is applied at the slot level. For example, if you change the settings for insert slot 3 on one channel, these changes are also applied to slot 3 on the other channels. Insert effects in other slots remain unaffected. Changing the Link Group Settings (Cubase Pro only) If you change a setting for a channel of the link group, the change is applied to the whole group.
MixConsole VCA Faders (Cubase Pro only) Removing Channels from Link Groups (Cubase Pro only) You can remove a channel from an existing link group. PROCEDURE 1. On the display line of the channel that you want to remove, open the pop-up menu. 2. Select Included in Link Group: and from the link group list, select None. 3. If the channel is controlled by a VCA fader, specify if the channel keeps the combined automation. RESULT The channel is removed from the link group.
MixConsole VCA Faders (Cubase Pro only) In Cubase, the VCA fader function is based on the same concept. VCA faders are assigned to a group of linked channels, a link group. The VCA faders control the following parameters of the link group: volume, mute, solo, listen, monitor, and record. When you assign VCA faders, they become part of the link group. IIMPORTANT MPORTANT If a VCA fader controls a link group, it cannot control another link group.
MixConsole VCA Faders (Cubase Pro only) 1) Link group number 2) Link group name 3) VCA fader pop-up menu 4) Peak meter that displays the summed up level of all channel meters in the link group 5) Fader cap The VCA fader pop-up menu provides the following options: Edit Link Group Settings Allows you to change the link group settings. VCA Fader Controls Link Group: Shows the link group that the VCA fader controls. You can assign the VCA fader to a different link group.
MixConsole VCA Faders (Cubase Pro only) Assigning VCA Faders to Link Groups You can link channels and assign VCA faders to control them. PREREQUISITE You have selected channels. PROCEDURE 1. Click Link on the MixConsole toolbar. The Link Group Settings dialog opens. 2. Click in the Name field to enter a name for the link group. 3. Activate Use VCA Fader. The Volume parameter is automatically deactivated. 4.
MixConsole VCA Faders (Cubase Pro only) 3. Click OK. 4. Specify if the channels in the link group keep the combined automation. RESULT The VCA fader is removed from the link group and is deleted from the list of channels. NOTE You can keep the VCA fader in the fader section. In this case, open the VCA fader pop-up menu, select VCA Fader Controls Link Group: , and select None. This removes only the VCA fader assignment. Nested VCA Faders VCA faders can control other VCA faders.
MixConsole VCA Faders (Cubase Pro only) VCA Fader Automation VCA fader automation influences the automation of link groups. When you create VCA faders, their tracks in the Project window contain the static value line that is default for all automation tracks and that turns into an automation curve once you start writing automation. When you write automation for a VCA fader of a link group, it affects the volume automation of the linked channels.
MixConsole Metering (Cubase Pro only) The lighter static value line displays the VCA fader automation that has not been written yet. VCA fader track automation The VCA fader track has a different automation curve that affects the automation of the audio track. Original audio track automation and combined automation of VCA fader and audio track The underlying darker automation curve displays the original automation of the audio track.
MixConsole Metering (Cubase Pro only) Displaying Meters PROCEDURE 1. In the MixConsole, click the Set up Window Layout button on the toolbar and activate Control Room/Meter. 2. Click the Meter tab at the top of the Control Room/Meter section. By default, the master meter is displayed. Master Meter The master meter is a multi-channel true peak meter. 1) Control Room view Activates the Control Room section in the MixConsole.
MixConsole Metering (Cubase Pro only) 5) AES17 standard Activates the AES17 standard that adds an offset of 3 dB to the RMS value. 6) RMS/Peak meter Shows the RMS and peak hold values as blue lines and the peak values as gray lines. The following parameters are available: RMS Max Shows the maximum RMS value. Peak Max Shows the maximum peak value.
MixConsole Metering (Cubase Pro only) 1) Control Room view Activates the Control Room section in the MixConsole. 2) Loudness meter Shows the Momentary Max value as a green triangle in the left meter scale and the Integrated value as a gray triangle in the right meter scale. 3) Measure Loudness Activates the loudness measurement. 4) Switch between LUFS and LU Switches the meter scale between LUFS (absolute values) and LU (relative values).
MixConsole Input Levels The following parameters are available: Momentary Max Shows the maximum loudness measured over a duration of 400 ms. Short Term Shows the loudness measured over a duration of 3 ms. Integrated Shows the average loudness measured from start to stop. The period of measurement is shown in the Time display. The recommended value for the integrated loudness is -23 LUFS. This absolute value is the reference point for the relative LU scale where -23 LUFS equals 0 LU.
MixConsole Copying and Moving Rack and Channel Settings 3. Play back the audio and check the level meter for the input channel. The signal should be as loud as possible without exceeding 0 dB that is the clipping indicator for the input bus should not light up. 4. 5. If necessary, adjust the input level in one of the following ways: • Adjust the output level of the sound source or the external mixer. • If possible, use the audio hardware’s own application program to set the input levels.
MixConsole Fader Section The following applies: • To copy the rack settings from one rack to another, drag the rack and drop it on the rack to which you want to copy the settings. • To move the rack settings from one rack to another, press [Alt]/[Option], drag the rack, and drop it on the rack to which you want to move the settings. • To copy the channel settings from one channel to another, drag the channel and drop it on the channel to which you want to copy the settings.
MixConsole Fader Section NOTE If a channel is deactivated in the channel selector or if its channel type is deactivated, it is not shown in the fader section.
MixConsole Fader Section Stereo Combined Panner (Cubase Pro only) With the stereo combined panner, the left and right pan controls are linked and keep their relative distance if you move them. It is available for channels with a stereo input and output configuration. • To activate this panner, open the context menu for a pan control and select Stereo Combined Panner. • To set the pan independently for the left and right channels, hold down [Alt]/[Option] and drag left or right.
MixConsole Fader Section • To deactivate the mute or solo states for all channels simultaneously, click Deactivate All Mute States or Deactivate All Solo States. • To activate exclusive solo mode, hold down [Ctrl]/[Command] and click Solo for the channel. The Solo buttons of all other channels are deactivated. • To activate solo defeat for a channel, [Alt]/[Option]-click Solo. You can also click and hold Solo to activate solo defeat. In this mode the channel is not muted when you solo another channel.
MixConsole Fader Section Level Meters The channel meters show the level when you play back audio or MIDI. The Meter Peak Level indicator shows the highest registered level. • To reset the peak level, click the Meter Peak Level value. NOTE Input and output channels have clipping indicators. When they light up, lower the gain or the levels until the indicator is no longer lit. Channel Meter Options You can change the meter characteristics for audio channels using the context menu of the channel meter.
MixConsole Working with Channel Racks Working with Channel Racks The Channel Racks section holds specific MixConsole functions, such as routing, insert, or send handling. These are organized in racks. Routing The Routing rack allows you to configure input and output routing, that is, setting up input and output busses. Input busses are used when you record on an audio track. In this case, you must select from which input bus the audio is received.
MixConsole Working with Channel Racks 3. Click one of the slots of the Routing rack to open the input or the output routing pop-up menu for a channel. 4. In the routing selector, select an entry. • To set up the routing for multiple selected channels simultaneously, press [Shift]-[Alt]/[Option] and select a bus. • To set several selected channels to incrementing busses (the second selected channel to the second bus, the third to the third bus, etc.), press [Shift] and select a bus.
MixConsole Working with Channel Racks Pre (Filters/Gain/Phase) The Pre rack for audio-related channels features a high-cut and a low-cut filter as well as gain and phase settings. For MIDI channels it allows you to open the Input Transformer. NOTE You cannot edit the Pre rack settings in the EQ curve display.
MixConsole Working with Channel Racks Making Input Gain Settings The Pre-Gain slider allows you to change the level of a signal before it reaches the EQ and the effects section. This is useful as the level going into certain effects can change the way the signal is affected. A compressor, for example, can be driven harder by raising the input gain. Gain can also be used to boost the level of poorly recorded signals. PROCEDURE 1. On the MixConsole toolbar, activate Show Channel Racks. 2.
MixConsole Working with Channel Racks 3. Click one of the insert slots to open the insert selector. 4. Click an insert effect to select it. RESULT The selected insert effect is loaded and automatically activated. Its plug-in panel opens. Moving Inserts to Post-Fader or Pre-Fader Position For each audio-related channel, you can add 6 pre-fader and 2 post-fader inserts. PROCEDURE 1. Right-click an insert effect in a pre-fader position. 2. From the context menu, select Move to Post-Fader Slot.
MixConsole Working with Channel Racks Saving/Loading FX Chain Presets You can save and load all insert rack settings using FX chain presets. FX chain presets have the file name extension .fxchainpreset. PROCEDURE • In the top right corner of the Inserts rack, open the Presets pop-up menu and perform one of the following actions: • To save the current settings as a preset, select Save FX Chain Preset and name your preset. • To load a preset, select Load FX Chain Preset and select a preset.
MixConsole Working with Channel Racks 1) Bypass EQ Click to bypass all EQ bands. 2) Curve Display Click on the display in a channel to show a larger version. The display is also available in the Inspector and in the Channel Settings dialog. If you activate Equalizer Curve in the Set up Window Layout pane, the curve is removed from the EQ rack and is displayed above the racks. Hovering with the mouse over the display shows a cross-hair cursor.
MixConsole Working with Channel Racks Band Settings 1) Activate Band Activates the equalizer band. 2) Gain Set the amount of cut or boost. The range is ±24 dB. 3) Frequency Sets the center frequency of the frequency range to be cut or boosted. You can set the frequency either in Hz or as a note value. If you enter a note value, the frequency is automatically displayed in Hz. For example, a note value of A3 sets the frequency to 440 Hz. When you enter a note value, you can also enter a cent offset.
MixConsole Working with Channel Racks NOTE You can also apply EQ together with insert and channel strip settings from track presets. You can load, tag, and save EQ presets in the MediaBay. Channel Strips The Channel Strip rack is only available for audio-related channels. It allows you to load built-in processing modules for separate channels. Channel Strip Modules The channel strips allow you to apply modules directly to specific channels.
MixConsole Working with Channel Racks 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. State LED Indicates whether the gate is open (LED lights up in green), closed (LED lights up in red), or in an intermediate state (LED lights up in yellow). Attack (0.1 to 1000 ms) Sets the time after which the gate opens when it is triggered.
MixConsole Working with Channel Racks Gain Reduction LED Indicates the amount of compression of the 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. Release (10 to 1000 ms or Auto mode) Sets the time after which the gain returns to the original level when the signal drops below the threshold.
MixConsole Working with Channel Racks Mix (0 to 100) Sets the level balance between the dry signal and the wet signal. VintageCompressor VintageCompressor is modeled after vintage type compressors. Input (-24 to 48 dB) In combination with the Output setting, this parameter determines the compression amount. The higher the input gain setting and the lower the output gain setting, the more compression is applied. Side-chain Activates the external side-chain. Output (-48 to 24 dB) Sets the output gain.
MixConsole Working with Channel Racks 1) Activate Band x Activates the equalizer band. 2) Select EQ Band x Type Opens a pop-up menu where you can select an EQ type for the band. Bands 1 and 4 can act as parametric, shelving, or high/low-cut filters. EQ bands 2 and 3 are always parametric filters. 3) Gain Sets the amount of cut or boost. 4) Freq Sets the center frequency of the frequency range to be cut or boosted. 5) Q Determines the width of the affected frequency range.
MixConsole Working with Channel Racks Auto Automatically and continually chooses an optimum threshold setting independent of the input signal. The Auto option does not work for low-level signals (< -30 db peak level). To reduce the sibilants in such a signal, set the threshold manually. Gain Reduction LED Indicates the amount of compression of the signal. Low-Frequency Allows you to set the low frequency band. High-Frequency Allows you to set the high frequency band.
MixConsole Working with Channel Racks Magneto II This channel strip module simulates the saturation and compression of recording on analog tape machines. Saturation Determines the amount of saturation and the generation of overtones. This leads to a small increase in input gain. Dual Mode Simulates the use of two tape machines. Saturation On/Off Activates/Deactivates the saturation effect. Output Allows you to adjust the output level. Saturation Amount LED Indicates the amount of saturation of the signal.
MixConsole Working with Channel Racks Dual Mode Simulates the use of two tape machines. Auto Gain Adjusts the gain automatically. Output Sets the output gain. Drive Amount LED Indicates the amount of drive of the signal. Low-Frequency This is a low shelving filter with fixed frequency. High-Frequency This is a Hi Cut filter. Use the frequency fader to reduce harshness of the output signal.
MixConsole Working with Channel Racks Brickwall Limiter Brickwall Limiter ensures that the output level never exceeds a set limit. Due to its fast attack time, Brickwall Limiter can reduce even short audio level peaks without creating audible artifacts. However, this channel strip module creates a latency of 1 ms. Brickwall Limiter features separate meters for input, output, and the amount of limiting. Threshold (-20 to 0 dB) Determines the level where the limiter kicks in.
MixConsole Working with Channel Racks Output (-24 to 6 dB) Determines the maximum output level. Gain Reduction LED Displays the amount of gain reduction. Release (0.1 to 1000 ms or Auto mode) Sets the amount of time it takes for the gain to return to its original level. If Auto is activated, Limiter automatically finds the best release setting for the audio material. Saving/Loading Strip Presets You can save and load strip presets. Strip presets have the file name extension .strippreset.
MixConsole Working with Channel Racks Bypassing Send Effects • To bypass all sends, click the bypass button at the top of the Sends rack. • To deactivate bypass, click the button again. Adding FX Channels to a Send PROCEDURE 1. Right-click on the send slot to open the context menu. 2. Select Add FX Channel to Send. 3. In the Add FX Channel Track window, select the effect and configuration. 4. Click Add Track.
MixConsole Working with Channel Racks Direct Routing (Cubase Pro only) The Direct Routing rack allows you to set and activate outputs for all selected channels at once. In addition to the main output you can set up 7 routing destinations that are positioned post-fader and post-panner in the signal path. This allows you to switch the destination of channels, and create different mix versions in one go.
MixConsole Working with Channel Racks 4. Continue to record destination changes for your project. NOTE To switch destinations for multiple channels simultaneously, select these channels and keep [Shift]-[Alt]/[Option] pressed when activating a different destination. Feeding Signals to Multiple Destinations Direct routing offers a summing mode, allowing you to feed your signals to several outputs at the same time.
MixConsole Working with Channel Racks When performing an automatic downmix from 5.1 to stereo, the levels are adjusted as follows: L L R 0.0 R 0.0 C Lfe Ls -3.01 -3.01 -6.02 -3.01 -3.01 Rs -6.02 Center and Lfe signals are split to L and R channels, Ls and Rs are sent to L and R respectively, but reduced in volume. When performing an automatic downmix from 7.1 to 5.1 the levels are adjusted as follows: L L R C Lfe Ls Rs 0.0 R Lc Rc -3.01 0.0 C -3.01 0.0 LFE -3.01 -3.01 0.
MixConsole Working with Channel Racks Assigning Parameters from Racks or Channel Settings You can assign several parameters to Quick Control slots directly from within racks or channel settings in the MixConsole. Some specific racks and channel settings allow you to add several parameters directly to the Quick Controls tab in the Inspector. • Pre (Filters/Gain/Phase) • Equalizers • Channel Strip You can assign an effect parameter either to the next empty slot or to a specific Quick Control slot.
MixConsole Using Channel Settings Using Channel Settings You can open each MixConsole channel in a separate Channel Settings window. This allows for better overview and editing of the channel settings. • To open the channel settings for a specific channel, click E in the fader section.
MixConsole Using Channel Settings • Making EQ settings The channel settings feature a large EQ curve display with several modes. By default, the equalizer controls are hidden, but you can click the little green button at the top right corner to show the equalizer controls or the equalizer knob controls below the EQ curve. • Panning sends This is done on the Panning tab in the Sends section.
MixConsole Adding Notes to a MixConsole Channel • Click the channel name or the Search tool on the toolbar and select a channel. • Select a channel in the MixConsole to select the corresponding channel in the Channel Settings window. This is the default behavior. If this is not what you want, open the Functions menu and deactivate Follow ‘e’ buttons or selection changes. • Select a track in the Project window to select the corresponding channel in the MixConsole and the Channel Settings window.
MixConsole Keyboard Navigation Navigating in a Section Once you have activated a section, you can use the computer keyboard as described below. In the channel racks section and in the fader section, controls that are selected for keyboard control are indicated by a red frame. • To navigate through the controls, use the arrow keys. • To activate or deactivate a switch, press [Return].
Control Room (Cubase Pro only) The Control Room allows you to divide the studio environment into the performing area (studio) and the engineer/producer area (control room). To open the Control Room Mixer you have the following options: • To open the Control Room in a separate window, select Devices > Control Room Mixer. • To open Control Room section in the MixConsole, select Devices > MixConsole > Set up Window Layout > Control Room/Meter and activate the Control Room View button.
Control Room (Cubase Pro only) Output Routing 5. Click the Audio Device column to set an audio device for the channel type. 6. Click the Device Port column to assign a port for the channel. IMPORTANT You cannot assign the same device port to a bus or channel and a Control Room channel at the same time. RESULT The Control Room functions are available for use. If you disable the Control Room, the configuration is saved and will be restored when you reenable the Control Room.
Control Room (Cubase Pro only) Control Room Channels Monitor Channels A monitor channel represents a set of outputs that are connected to monitor speakers in the Control Room. You can create up to 4 monitor channels for a mono, stereo, or surround speaker configuration. Each monitor can have its own custom downmix settings, input gain, and input phase settings. NOTE Monitor channels can share hardware inputs or outputs with another bus or channel.
Control Room (Cubase Pro only) Control Room Channels External Inputs You can use external inputs for monitoring external devices, such as CD players, multi-channel recorders, or any other audio source. You can create up to 6 external inputs for a mono, stereo, or surround speaker configuration. NOTE If you select external inputs as input source of an audio channel, you can record them. In this case, you do not need to assign the device ports to the input channel.
Control Room (Cubase Pro only) Control Room Mixer Control Room Mixer The Control Room Mixer displays information and controls for the channels that you define on the Studio tab in the VST Connections window. The Control Room Mixer is divided into a number of sections that you open by clicking their header. To open several sections simultaneously, use [Ctrl]/[Command]-click. External The External section allows you to use external inputs for monitoring external devices.
Control Room (Cubase Pro only) Control Room Mixer To switch to another external input, click the input name and select a new external input from the pop-up menu. Cue Channel The Cue Channel section allows you to set up cue channels for sending cue mixes. 1) Activate Cue Channel Allows you to activate/deactivate the cue channel. 2) Source Selectors Allow you to select the source for the cue channel: monitor mix (Mix), external inputs (Ext), or the cue sends (Cues).
Control Room (Cubase Pro only) Control Room Mixer 1) Solo Left and Right Channels Allows you to solo the left and right channels. 2) Solo Front Channels Allows you to solo the front channels. 3) Solo Surround Channels Allows you to solo the surround channels. 4) Listen to Solo Channels on Center Channel Allows you to listen to all soloed speakers in the center channel. If the center channel is not available, the channels are distributed equally to the left and right.
Control Room (Cubase Pro only) Control Room Mixer Downmix Presets The Downmix Presets section allows you to configure downmix presets. 1) Assign Downmix Preset Allows you to configure a downmix preset for the monitor that is selected in the Monitors section. 2) Select Output Configuration Allows you to select an output channel configuration. Phones The Phones section allows you to use the phones channel in the Control Room to listen to cue mixes.
Control Room (Cubase Pro only) Control Room Mixer 5) Click Level and Click Pan Use the Click Level and Click Pan controls to set the volume and the pan position of the metronome click. 6) Enable Listen for Output Enables the listen bus function. 7) Listen Level Allows you to set the listen level. Control Room Channel The Control Room channel is the representation of the bus that is set up as the Main Mix bus on the Outputs tab in the VST Connections window.
Control Room (Cubase Pro only) Control Room Mixer 1) Source Selectors Allow you to select the source for the Control Room channel. The available sources depend on the channels that you added to the Control Room. The signal presence indicators in the upper left corner light up when the source channel is sending data to the Control Room channel. 2) Dim Signal Activate this to lower the Control Room level by a fixed amount.
Control Room (Cubase Pro only) Control Room Setup 2) AFL/PFL Allows you to determine whether the signal of a listen-enabled channel is routed to the Control Room channel after applying the fader and pan settings (AFL) or before applying the fader and pan settings (PFL). 3) Enable Listen for Output Enables the listen bus function for the Control Room output. 4) Listen Level Allows you to adjust the volume of listen bus signals that are routed to the Control Room output.
Control Room (Cubase Pro only) Control Room Setup Input Gain Setting up the input gain can be useful in the following situations: 363
Control Room (Cubase Pro only) Control Room Setup • To balance the level of external inputs, for example, CD players and other sources to the Main Mix level, for A/B comparisons. • To balance the level of your monitor systems, so that switching between sets of speakers does not change the playback volume. Input Phase Reversing the input phase can be useful for external inputs and monitor speaker outputs. Insert Effects Each Control Room channel has a set of insert effect slots.
Control Room (Cubase Pro only) Setting Up a Cue Mix Setting Up a Cue Mix You can create a cue mix from the fader and pan levels that are used in the MixConsole and change them to meet the needs of the individual performers. PROCEDURE 1. In the MixConsole, select the channels from which you want to copy the settings. 2. In the Control Room, do one of the following: 3. • To apply the function only to this cue channel, right-click on a cue channel to open the context menu.
Control Room (Cubase Pro only) Adjusting the Overall Cue Send Level Reset Cue Sends Allows you to deactivate the cue sends, to change the send level of all selected channels to 0 dB, and to set the signal source to post-fader. This way, any changes to the main mix also change the cue mix. To raise the level of individual cue channels, raise the level on that channel.
Metering Loudness Cubase allows you to measure the loudness in compliance with the loudness recommendation R 128 of the European Broadcasting Union (EBU). Measurements that correspond to this recommendation consider loudness, loudness range, and maximum true peak level values. Loudness Measurement The following measurements are performed: • Integrated Loudness Average loudness that is measured over the whole track in LUFS (Loudness Unit, referenced to Full Scale).
Metering Loudness True Peaks When a digital signal is converted to an analog signal, EBU R 128 recommends that you rather measure an estimation of the real peaks instead of relying on digital peaks. This avoids clipping and distortion. Naming and Units The EBU R 128 proposes the following naming and units conventions: • A relative measurement, such as a value that is relative to a reference level, LU as Loudness Unit (1 LU is 1 dB).
Metering Loudness The following parameters are available: 1) Measure Loudness Allows you to activate the loudness measurement. 2) Switch between LU and LUFS Allows you to switch the meter scale between LU (relative values) and LUFS (absolute values). 3) Configure Loudness Settings Opens a dialog with further loudness settings. 4) Reset Loudness Allows you to reset the loudness measurement. 5) Momentary Max. Shows the maximum of all measured momentary loudness values.
Metering Loudness 9) True Peak Shows the true peak level of the audio. The maximum permitted true peak level in production is -1 dB. 10) Time Shows the duration of the integrated loudness measurement. Loudness Settings • To open the Loudness Settings dialog, select Devices > Control Room Mixer > Meter > Loudness > Configure Loudness Settings. The following parameters are available: 1) Select Preset Allows you to create, load, and remove loudness presets. 2) Momentary Max.
Metering Loudness 5) True Peak Allows you to specify a reference value and a tolerance value for the true peak level. If higher values are detected, the clipping indicator in the loudness meter turns red. 6) Switch between LUFS and LU Allows you to switch the meter scale between LUFS (absolute values) and LU (relative values). 7) Switch between EBU +9 Scale and EBU +18 Scale Allows you to switch the meter scale between EBU +9 and EBU +18.
Audio Effects Cubase comes with a number of effect plug-ins included. This chapter contains general details about how to assign, use and organize effect plug-ins. The effects and their parameters are described in the separate PDF document “Plug-in Reference”. IIMPORTANT MPORTANT This chapter describes audio effects, i. e. effects that are used to process audio, group, VST instrument, and ReWire channels.
Audio Effects Overview VST 3 Standard The VST 3 plug-in standard offers many improvements over the previous VST 2 standard and yet retains full backwards compatibility. Cubase is able to run plug-ins originally developed for different platforms: you can use a 32-bit plug-in with the 64-bit version of Cubase under Windows 8 64 bit and Mac OS X 10.8. NOTE This functionality is provided to allow you to load older projects including their original plug-ins on current computers.
Audio Effects Insert Effects Plug-In Delay Compensation A plug-in effect may have some inherent delay or latency. This means that it takes a brief time for the plug-in to process the audio fed into it – as a result, the output audio will be slightly delayed. This especially applies to dynamics processors featuring look-ahead functionality. Cubase provides full plug-in delay compensation throughout the entire audio path.
Audio Effects Insert Effects The signal passes through the effects in series from the top downwards, with the signal path shown below: As you can see, the last two insert slots (for any channel) are post-EQ and post-fader. Post-fader slots are best suited for insert effects where you do not want the level to be changed after the effect, such as dithering and maximizers – both typically used as insert effects for output busses.
Audio Effects Insert Effects 2. Move the mouse over the first insert slot, click on the arrow symbol that is displayed, and select an effect from the selector. RESULT The effect is loaded and automatically activated and its control panel opens. You can open the control panel for a loaded effect by double-clicking in the middle of the insert slot. • If the effect has a dry/wet Mix parameter, you can use this to adjust the balance between the dry signal and the effect signal.
Audio Effects Insert Effects • To deactivate an effect, hold [Alt]/[Option] and click its Bypass button. 1) This effect is deactivated. 2) This effect is bypassed. 3) This effect is activated. • To bypass all inserts for a track, click the “Bypass Inserts” button. This button can be found on the right of the header of the Inserts section in the Inspector. It lights up in yellow to indicate that one or more inserts of this track are bypassed.
Audio Effects Insert Effects 3. Double-click on the diagram. The Routing Editor opens. 4. Make your settings by using the arrow buttons, the Link checkbox and by clicking the lines. Routing Editor The Routing Editor allows you to freely set up the routing for the individual channels. It shows the channels in the current configuration, with signals passing from top to bottom. • The gray field in the middle represents the actual effect plug-in.
Audio Effects Insert Effects • If you move inputs or outputs independently, you create a “cross-connection”. The audio on the Ls-Rs channels is processed in the plug-in and output on the L-R channels. Since the L-R channels are bypassed, this means the final L-R output will contain both the original L-R signals and the processed Ls-Rs signals. • If a channel is bypassed (a straight line is shown through the plug-in), you can click on the line to break the connection.
Audio Effects Insert Effects When should I use dithering? • Consider dithering when you mix down to a lower resolution, either in realtime (during playback) or with the Export Audio Mixdown function. A typical example is when you mix down a project to a 16-bit stereo audio file for audio CD burning. What is a “lower resolution” then? Well, Cubase uses 32-bit float resolution internally, which means that all integer resolutions (16 bit, 24 bit, etc.) are lower.
Audio Effects Insert Effects Adding Insert Effects to Group Channels You can add insert effects to group channels. This is useful if you have several audio tracks that you want to process through the same effect (e. g. different vocal tracks that you want to be processed by the same compressor). PROCEDURE 1. Create a group channel track and route it to the desired output bus. 2. Add the desired effect to the group channel as an insert effect. 3. Route the audio track to the group channel.
Audio Effects Send Effects After freezing the Inserts for a track, you hear the track play back as before but the insert effects do not have to be calculated in real time, easing the load on the computer processor. Typically, you would freeze a track when it is finished and you do not need to edit it anymore. NOTE You can only freeze audio tracks this way, not group channel tracks or FX channel tracks. NOTE Post-fader inserts can not be frozen.
Audio Effects Send Effects Adding an FX Channel Track PROCEDURE 1. Select Project > Add Track > FX Channel. A dialog opens. 2. Select a channel configuration for the FX channel track. Normally, stereo is a good choice since most effect plug-ins have stereo outputs. 3. Select an effect for the FX channel track. 4. Click Add Track.
Audio Effects Send Effects Adding and Setting Up Effects You can add a single insert effect when you create the FX channel track. To add and set up effects after the FX channel track is created, you can either use the Channel Settings window or the Inspector for the track. PROCEDURE 1. In the track list, the MixConsole, or the Inspector, click the Edit button for the FX channel track to open the Channel Settings window. On the left in the window you can find the Inserts section. 2.
Audio Effects Send Effects Routing an Audio Channel to the FX Channel The next step is to set up a send for an audio channel and route it to the FX channel. This can be done in the MixConsole, in the Channel Settings window, or in the Inspector for the audio track. The example below shows the Channel Settings window, but the procedure is similar for all the sections: PROCEDURE 1. Click the “e” button for an audio channel to bring up its Channel Settings window.
Audio Effects Send Effects 4. Click and drag the send level slider to determine how much of the signal from the audio channel is routed to the FX channel. Setting the Send level You can also double-click and enter a value numerically. If you hold down [Alt]/[Option] when double-clicking, the send destination is shown in the Channel Settings window. If you have routed the send to an FX channel, the plug-in panel opens.
Audio Effects Send Effects NOTE Use the channel’s Mute button to determine whether a send in pre-fader mode is affected. This is done with the “Mute Pre-Send when Mute” option in the Preferences dialog (VST page). NOTE Cubase Pro only: The FX channels themselves have sends, too.
Audio Effects Side-Chain Input 2. Click and drag the pan control for the desired send(s) in the display. You can reset the pan control to the center position by [Ctrl]/[Command]-clicking on the pan control. If the FX channel is configured in a surround format, the pan control will be a miniature surround panner. You can click and drag the “ball” in the miniature panner display to position the send in the surround field, or double-click in the display to bring up the surround panner.
Audio Effects Side-Chain Input About drag & drop When you drag effects from one insert slot to another (on the same channel or between different channels), the following applies: • When you move an effect within a channel (e. g. from slot 4 to slot 6), the side-chain connections will be kept. • When you drag and drop an effect between two channels, the side-chain connections will not be kept.
Audio Effects Side-Chain Input 6. On the Output Routing selector, locate the Side-Chain node and select the PingPongDelay effect that you set up for the vocal track. This way, the signals from the second (duplicate) track are routed to the effect (and do not end up in the mix). RESULT Now every time the signals on the vocal track exceed the threshold, the delay will be deactivated.
Audio Effects External Effects (Cubase Pro only) External Effects (Cubase Pro only) You can set up external FX busses to make your outboard equipment part of your studio. An external FX bus is a combination of outputs (sends) and inputs (returns) on your audio hardware, along with a few additional settings. All external FX busses you have created will appear on the effect pop-up menus and can be selected like the internal effect plug-ins.
Audio Effects Comparing Effect Settings Comparing Effect Settings You can compare two different parameter settings for an effect. PROCEDURE 1. Adjust the effect parameters for setting A. 2. Click A/B Setting to activate setting B. As a starting point for setting B, the parameters for setting A are copied. 3. Adjust the parameters for setting B. 4. Click A/B Setting to activate setting A and compare both settings. RESULT You can compare the settings between A and B using the corresponding buttons.
Audio Effects Effect Presets Presets Browser The Presets browser contains the Results, the Filters and the Location Tree sections. 1) Location Tree section Shows the folder that is searched for preset files. To show the Location Tree section, click Set Up Window Layout and activate Location Tree. This is only available if Filters is also active. 2) Filters section Shows the available preset attributes for the selected effect. To show the Filters section, click Set Up Window Layout and activate Filters.
Audio Effects Effect Presets This opens the Presets browser. You can also open the Presets browser from the Inspector (Inserts tab) or the Channel Settings window. 3. In the Results section, select a preset from the list. 4. Activate playback to audition the selected preset. Step through the presets until you find the right sound. It may be helpful to set up cycle playback of a section to make comparisons between different preset settings easier. 5.
Audio Effects Effect Presets Saving Effect Presets You can save your effect settings as presets for further use. PROCEDURE 1. Open the Preset Management pop-up menu. 2. Select Save Preset. The Save Preset dialog opens. 3. In the New Preset section, enter a name for the new preset. 4. Optional: Click the button at the bottom left to open the Attribute Inspector and save attributes for the preset. 5. Click OK to save the preset and exit the dialog.
Audio Effects Effect Presets Copying and Pasting Effect Presets You can copy a plug-in preset and paste it in another instance of the same plug-in. PROCEDURE 1. Open the plug-in context menu and select Copy (plug-in name) Setting. 2. Select another instance of the same plug-in, open the context menu and select Paste (plug-in name) Setting. Earlier VST Effect Presets Some VST 2.x plug-ins have presets in the old FX program/bank format (.fxp/.fxb).
Audio Effects Effect Presets AFTER COMPLETING THIS TASK You can convert the current program list to VST presets by opening the Preset Management pop-up menu and selecting Convert Program List to VST Presets. After converting, the presets will be available in the Presets browser, and you can use the Attribute Inspector in the MediaBay to add attributes and audition the presets. The converted presets will be stored in the VST 3 Preset folder.
Audio Effects Plug-In Information Window 7. In the dialog that opens, select the preset that you created. The effects are loaded into the Insert slots of the new track. NOTE When loading insert combination presets, any plug-ins that were previously loaded for the track will be removed, regardless of whether these slots are used in the preset. Extracting Insert Effect Settings from Track Presets You can extract the effects used in a track preset and load them into your inserts rack. PROCEDURE 1.
Audio Effects Plug-In Information Window The following columns are available: Instances Indicates how many instances of the plug-in are currently used in Cubase. Name The name of the plug-in. Vendor The manufacturer of the plug-in. File The name of the plug-in with extension. Path The path and name of the folder in which the plug-in file is located. Category Indicates the category of each plug-in. Version The version of the plug-in. SDK Shows with which version of the VST protocol a plug-in is compatible.
Audio Effects Plug-In Information Window Exporting Plug-In Information Files You can save plug-in information as an XML file, for example for archiving purposes or troubleshooting. • The plug-in information file contains information on the installed/available plug-ins, their version, vendor, etc. • The XML file can then be opened in any editor application supporting the XML format. NOTE The export function is not available for program plug-ins. PROCEDURE 1.
Audio processing and functions Background Audio processing in Cubase can be called “non-destructive”, in the sense that you can always undo changes or revert to the original versions. This is possible because processing affects audio clips rather than the actual audio files, and because audio clips can refer to more than one audio file. This is how it works: PROCEDURE 1. If you process an event or a selection range, a new audio file is created in the Edits folder, within your project folder.
Audio processing and functions Audio processing • When an audio clip is selected in the Pool, the processing will be applied to the whole clip. • When you have made a selection range, the processing will be applied to this range only. Other sections of the clip are not affected. If you attempt to process an event that is a shared copy (i. e. the event refers to a clip that is used by other events in the project), you are asked whether you want to create a new version of the clip.
Audio processing and functions Audio processing Process button Performs the processing and closes the dialog. NOTE To perform the process, you can also press [Enter] or [Return]. Cancel button Closes the dialog without processing. Pre/Post-Crossfade Some processing functions allow you to gradually mix the effect in or out. This is done with the Pre/Post-Crossfade parameters.
Audio processing and functions Audio processing Presets If you have set up an envelope curve that you may want to apply to other events or clips, you can save it as a preset by clicking the Store button. • To apply a stored preset, select it from the pop-up menu. • To rename the selected preset, double-click on the name and enter a new one in the dialog that opens. • To remove a stored preset, select it from the pop-up menu and click Remove.
Audio processing and functions Audio processing Pre/Post-Crossfade Some processing functions allow you to gradually mix the effect in or out. This is done with the Pre/Post-Crossfade parameters. For example, if you activate Pre-Crossfade and specify a value of 1000 ms, the processing is applied gradually from the start of selection, reaching full effect 1000 ms after the start.
Audio processing and functions Audio processing Noise Gate Scans the audio for sections weaker than a specified threshold level and replaces them with silence. The dialog contains the following settings: Threshold The level below which you want audio to be silenced. Levels below this value will close the gate. Attack Time The time it takes for the gate to open fully after the audio level has exceeded the threshold level. Min. Opening Time This is the shortest time the gate will remain open.
Audio processing and functions Audio processing Pre/Post-Crossfade Some processing functions allow you to gradually mix the effect in or out. This is done with the Pre/Post-Crossfade parameters. For example, if you activate Pre-Crossfade and specify a value of 1000 ms, the processing is applied gradually from the start of selection, reaching full effect 1000 ms after the start.
Audio processing and functions Audio processing Phase Reverse Reverses the phase of the selected audio, turning the waveform “upside down”. The dialog contains the following settings: Phase Reverse on When processing stereo audio, this pop-up menu allows you to specify which channel(s) are phase-reversed. Pre/Post-Crossfade Some processing functions allow you to gradually mix the effect in or out. This is done with the Pre/Post-Crossfade parameters.
Audio processing and functions Audio processing When the Transpose tab is selected, the dialog contains the following parameters: Keyboard display This is a graphic overview of the transposition setting. Here, you can specify the transpose interval in semitones. • The root note is indicated in red. This has nothing to do with the actual key or pitch of the original audio, it just provides a way to display transpose intervals.
Audio processing and functions Audio processing Algorithm Settings This is where you can make settings for the MPEX 4 algorithm. For each quality setting you can choose between the regular setting and a setting where the formants are preserved. If you are processing vocal material, select the Preserve Formant setting in order to preserve the vocal characteristics of the pitch-shifted audio and to avoid a “chipmunk voice” effect.
Audio processing and functions Audio processing Curve Kind These buttons determine whether the envelope curve consists of spline curve segments (left button), damped spline segments (middle button) or linear segments (right button). Spline curve segment envelope The same envelope with damped spline segments selected The same envelope with linear segments selected Range This parameter determines the vertical pitch range of the envelope.
Audio processing and functions Audio processing RELATED LINKS Algorithm Settings on page 410 Example Let’s say that you wish to create a pitchbend effect, so that the pitch is raised linearly by exactly 2 semitones in a specific part of the selected audio. PROCEDURE 1. Remove all curve points by clicking the Reset button. 2. Select a linear curve by clicking the Curve Kind button to the right. 3. Make sure that the Range parameter is set to 2 semitones or higher. 4.
Audio processing and functions Audio processing IIMPORTANT MPORTANT It is recommended that this function is applied to complete audio clips, since the DC offset (if any) is normally present throughout the entire recording. There are no parameters for this function. Note that you can check for DC Offset in an audio clip using the Statistics function. Resample The Resample function can be used for changing the length, tempo and pitch of an event.
Audio processing and functions Audio processing Stereo Flip This function works with stereo audio selections only. It allows you to manipulate the left and right channel in various ways. The dialog contains the following parameters: Mode This pop-up menu determines what the function does: • Flip Left-Right Swaps the left and right channel. • Left to Stereo Copies the left channel sound to the right channel. • Right to Stereo Copies the right channel sound to the left channel.
Audio processing and functions Audio processing The dialog contains the following parameters: Define Bars section In this section, you set the length of the selected audio and the time signature: • Bars If you use the tempo setting (see below), specify the length of the selected audio here, in bars. • Beats If you use the tempo setting, specify the length of the selected audio here, in beats. • Sign. If you use the tempo setting, specify the time signature here.
Audio processing and functions Applying plug-ins (Cubase Pro only) • Use Locators Clicking the diamond-shaped button below the Range fields sets the Range values to the left and right Locator positions, respectively. Time Stretch Ratio section The Time Stretch Ratio determines the amount of time stretch as a percentage of the original length. If you use the settings in the Resulting Length section to specify the amount of time stretch, this value will change automatically.
Audio processing and functions Applying plug-ins (Cubase Pro only) The process plug-in dialog The upper section of the process plug-in dialog contains the effect parameters of the selected plug-in. For details on the parameters of the included plug-ins, see the separate PDF document “Plug-in Reference”. The process plug-in dialog for the StudioChorus effect The lower section of the dialog contains settings for the actual processing. These are common to all plug-ins.
Audio processing and functions The Offline Process History dialog Pre/Post-Crossfade These settings allow you to gradually mix the effect in or out. For example, if you activate Pre-Crossfade and specify a value of 1000 ms, the effect is applied gradually from the start of selection, reaching full effect 1000 ms after the start. Similarly, if you activate Post-Crossfade, the processing is gradually removed, starting at the specified interval before the end of the selection.
Audio processing and functions The Offline Process History dialog PROCEDURE 1. Select the clip in the Pool or one of its events in the Project window. You can see which clips have been processed by checking the Status column in the Pool – the waveform symbol indicates that processing or effects have been applied to the clip. 2. Select “Offline Process History…” from the Audio menu. The Offline Process History dialog opens.
Audio processing and functions Freeze Edits Restrictions • If there are no settings for the processing function, you cannot modify it. • If you have applied processing that changes the length of the clip (such as Cut, Insert or Time Stretch), you can only remove this if it is the most recent processing in the Offline Process History (at the bottom of the list in the dialog). If an operation cannot be removed or modified, this is indicated by an icon in the “Status” column.
Audio processing and functions Detect Silence Detect Silence The Detect Silence function searches for silent sections in an event and either splits the event, removing the silent parts from the project, or creates regions corresponding to the non-silent sections. • To open the Detect Silence dialog, select one or several audio events in the Project window or the Audio Part Editor. On the Audio menu, open the Advanced submenu and select “Detect Silence”.
Audio processing and functions Detect Silence Min. time closed Determines the minimum time that the function will remain “closed” after the audio level has dropped below the Close Threshold value. Set this to a low value to avoid removing sounds. Pre-roll Allows you to cause the function to “open” slightly before the audio level exceeds the Open Threshold value. In other words, the start of each “open” section is moved to the left according to the time you set here.
Audio processing and functions Detect Silence Adjustments in the waveform display The upper part of the dialog displays a waveform image of the selected audio event. In case you have selected several audio events, the waveform of the event that you have selected first is shown. You can make the following adjustments: • With the zoom slider below the waveform to the right, zoom in and out on the waveform. You can also click in the waveform, keep the mouse button pressed, and move the mouse for zooming.
Audio processing and functions The Spectrum Analyzer 6. Click the Process button. The event is split and/or regions are added. NOTE If you have selected more than one event and did not activate the “Process all selected Events” option in the Output section, the dialog opens again after processing, allowing you to make separate settings for the next event.
Audio processing and functions The Spectrum Analyzer • Normalized Values • When this is activated, the resulting level values are scaled, so that the highest level is displayed as “1” (0 dB). From Stereo When analyzing stereo material, there is a pop-up menu with the following options: Mono mix – the stereo signal is mixed to mono before analyzing. Mono left/right – the left or right channel signal is used for analysis. Stereo – both channels are analyzed (two separate spectrums will be displayed). 3.
Audio processing and functions Statistics value (the difference in level between the current position and the right-click position) is displayed in the upper right corner (labeled “D”). • If you analyze stereo audio and selected the “Stereo” option in the first dialog, the graphs for the left and right channel are superimposed in the display, with the left channel graph in white and the right channel graph in yellow.
Audio processing and functions Statistics True Peak The maximum absolute level of the audio signal waveform in the continuous time domain. DC Offset The amount of DC Offset as a percentage and in dB. Resolution The current calculated audio resolution. Estimated Pitch The estimated pitch. Sample Rate The sample rate. Average RMS (AES-17) The average loudness in accordance with the AES-17 standard. Max. RMS The highest RMS value. Max. RMS All Channels The highest RMS value of all channels.
Audio processing and functions About time stretch and pitch shift algorithms About time stretch and pitch shift algorithms In Cubase, time stretching and pitch shifting algorithms are used for numerous operations (e. g. the Time Stretch and Pitch Shift offline processes, in the Sample Editor, or by the Flatten function). Depending on the feature, some or all of the following algorithm presets are available. élastique The élastique algorithm is suited for both polyphonic and monophonic material.
Audio processing and functions About time stretch and pitch shift algorithms MPEX – Solo Musical Same as above but higher quality. MPEX – Poly Fast Use this for processing monophonic and polyphonic material. This is the fastest setting that gives still very good results. You can use this for drum loops, mixes, chords. MPEX – Poly Musical Use this for processing monophonic and polyphonic material. This is the recommended MPEX default quality setting. You can use this for drum loops, mixes, chords.
Audio processing and functions About time stretch and pitch shift algorithms Standard – Mix This mode preserves the rhythm and minimizes the artifacts for pitched material that does not meet the above criteria (i. e. with a less homogenous sound character). This preset is selected by default for audio that is not categorized. Standard – Custom This preset allows you to manually tweak the time stretching parameters (see below).
Audio processing and functions About time stretch and pitch shift algorithms NOTE In rare cases, editing warped audio events may cause discontinuities at the edit points. You can then try to move the edit point to a different position or bounce the audio event prior to editing. Reverse playback and scrubbing Most of the algorithms used for time stretching and pitch shifting only support forward playback. Reverse playback or scrubbing of warped audio events can lead to recurring artifacts in the playback.
Sample Editor Window overview The Sample Editor allows you to view and manipulate audio by cutting and pasting, removing, or drawing audio data, and by processing audio. This editing is “non-destructive”: The actual file will remain untouched so that you can undo modifications or revert to the original settings at any time. The Sample Editor also contains most of the realtime time stretching functions in Cubase. These can be used to match the tempo of audio to the project tempo.
Sample Editor Window overview NOTE The term “loop” is used throughout this chapter and in this context usually means an audio file with a musical time base. That means that the length of the loop represents a certain number of bars and beats at a certain tempo. Playing the loop back at the right tempo in a cycle set to the correct length will produce a continuous loop without gaps.
Sample Editor Window overview Show Audio Event When the “Show Audio Event” button is activated on the toolbar, the section corresponding to the edited event is highlighted in the waveform display and the Overview. The sections of the audio clip not belonging to the event are shown with a gray background. • You can adjust the start and end of the event in the clip by dragging the event handles in the waveform display.
Sample Editor Window overview VariAudio Segment Colors (Cubase Pro only) You can select a color scheme for VariAudio segments on the “VariAudio Segment Colors” pop-up menu on the toolbar. When working with several audio events, this makes it easier to see which segments belong to which event. The following options are available: Option Description Auto This is the default mode. All segments belonging to the same audio event get the same color.
Sample Editor Window overview Initially, length and position values are displayed in the format specified in the Project Setup dialog. • To show or hide the info line, click the “Set up Window Layout” button on the toolbar and activate or deactivate the Info Line option. RELATED LINKS Using the Setup options on page 1032 The Sample Editor Inspector On the left in the Sample Editor, you will find the Sample Editor Inspector. It contains tools and functions for working in the Sample Editor.
Sample Editor Window overview The VariAudio tab (Cubase Pro only) Disable Pitch Changes On this tab you can edit single notes of your audio file and change their pitch and/or timing, in a way that is similar to the editing of MIDI notes. Furthermore, you can extract MIDI from your audio. • If you click the “Disable Pitch Changes” button, any pitch modifications you have made are disabled, allowing you to compare the modified sound with the original sound of your audio.
Sample Editor Window overview The Process tab This tab regroups the most important audio editing commands from the Audio and Edit menus.
Sample Editor Window overview The ruler The Sample Editor ruler is located between the overview line and the waveform display. When the Definition tab is open, an additional ruler displays the musical structure of the audio file. RELATED LINKS Ruler on page 48 The waveform display and the level scale The waveform display shows the waveform image of the edited audio clip according to the wave image style set in the Preferences dialog (Event Display–Audio page).
Sample Editor General Functions • Select the “Show Half Level Axis” option on the context menu of the waveform display, if you want the half level axes to be shown.
Sample Editor General Functions Zoom to Selection (Horiz.) Zooms in horizontally so that the current selection fills the editor display. Zoom to Event Zooms in so that the editor shows the section of the clip corresponding to the edited audio event. This is not available if you have opened the Sample Editor from the Pool (in which case the whole clip is opened for editing, not an event). Zoom In/Out Vertically This is the same as using the vertical zoom slider (see above).
Sample Editor General Functions • If you have made a selection, this selection will be played back. • If there is no selection and “Show Event” is deactivated, playback will start at the cursor position. • If the Audition Loop icon is activated, playback will continue repeatedly until you deactivate the Audition Loop icon. Otherwise, the section will be played back once. NOTE There is a separate Play button for auditioning regions.
Sample Editor General Functions Adjusting the snap point The snap point is a marker within an audio event. It is used as a reference position when you move events with snap activated, so that the snap point is “magnetic” to whatever snap positions you have selected. By default, the snap point is set at the beginning of the audio event, but often it is useful to move the snap point to a “relevant” position in the event, such as a downbeat.
Sample Editor General Functions RELATED LINKS Correcting the local definition grid on page 454 Drawing in the Sample Editor It is possible to edit the audio clip at sample level by drawing with the Draw tool. This can be useful if you need to manually edit out a spike or click, etc. PROCEDURE 1. Zoom in to a zoom value lower than 1. This means that there is more than one screen pixel per sample. 2. Select the Draw tool. 3.
Sample Editor General Functions Using the Select menu On the Select menu on the Range tab and on the Select submenu of the Edit menu you find the following options: All Selects the whole clip. None Selects no audio (the selection length is set to “0”). In Loop Selects all audio between the left and right locator. Select Event Selects only the audio that is included in the edited event.
Sample Editor General Functions Left Selection Side to Cursor (Edit menu only) Moves the left side of the current selection range to the project cursor position. For this to work, the cursor must be within the clip boundaries. This function is not available for VariAudio segments (Cubase Pro only). Right Selection Side to Cursor (Edit menu only) Moves the right side of the current selection range to the project cursor position (or the end of the clip, if the cursor is to the right of the clip).
Sample Editor General Functions • Selecting Paste copies the data from the clipboard into the clip. If there is a selection in the editor, this is replaced by the pasted data. If there is no selection, the pasted data is inserted starting at the project cursor. The section to the right of the line is moved to make room for the pasted material. Delete Selecting Delete (on the Edit menu, on the Process tab of the Sample Editor Inspector, or on the main Edit menu) removes the selection from the clip.
Sample Editor General Functions Creating a new clip or audio file from the selection You can extract a selection from an event and either create a new clip or a new audio file. PROCEDURE 1. Make a selection range. 2. Open the context menu and select “Bounce Selection” from the Audio submenu. RESULT A new clip is created and added to the Pool, and another Sample Editor window opens with the new clip.
Sample Editor General Functions Creating and removing regions PROCEDURE 1. Select the range that you want to convert into a region. 2. Click the “Set up Window Layout” button and activate the Regions option. The regions list is displayed on the right. 3. Click the Add Region button above the regions list (or select “Event or Range as Region” from the Advanced submenu of the Audio menu). A region is created, corresponding to the selected range. 4.
Sample Editor General Functions There are two ways to edit the start and end positions of a region: • Click and drag the region start and end handles in the waveform display (with any tool). When you move the pointer over the handles, it automatically changes to indicate that you can drag the handles. • Edit the Start and End positions in the corresponding fields in the regions list.
Sample Editor General Functions You can also use the “Events from Regions” function from the Advanced submenu of the Audio menu. RELATED LINKS Region Operations on page 190 Exporting regions as audio files If you create a region in the Sample Editor, the region can be exported to disk as a new audio file. This is done from the Pool.
Sample Editor Warping audio When Musical Mode is activated, audio events will adapt to any tempo changes in Cubase, just like MIDI events. You can activate Musical Mode toolbar. on the AudioWarp tab, the Definition tab, and the NOTE It is also possible to activate/deactivate Musical Mode from within the Pool by clicking the corresponding checkbox in the Musical Mode column. IIMPORTANT MPORTANT Cubase supports ACID® loops. These loops are standard audio files but with embedded tempo/length information.
Sample Editor Warping audio 4. Activate the Musical Mode button. Your loop is warped and stretched automatically to adapt it to the project tempo. The rulers reflect the change. RESULT In the Project window, the audio event is now shown with a note symbol and a warp symbol in the upper right corner to indicate that time stretching has been applied.
Sample Editor Warping audio 4. Click the Auto Adjust button. The snap point is moved to the start of the selected range, which is now also the start position of the local definition grid. The lower ruler changes to reflect your edits. The transients, i. e. the bars and beats positions, are marked with vertical lines. 5. Activate the Musical Mode button. RESULT Your clip is warped and stretched automatically to adapt it to the project tempo. The rulers reflect the change.
Sample Editor Warping audio 5. In the upper part of the waveform, move the mouse pointer to the vertical line nearest to the second bar so that the tooltip “Stretch Grid” and a blue vertical line are shown. “Stretch Grid” allows you to correct the tempo by stretching or compressing the whole grid. 6. Click and drag the blue vertical line to the left or right to the position of the first downbeat in the second bar and release the mouse button.
Sample Editor Warping audio 11. To remove a misplaced beat edit, press any modifier key so that the Erase tool is shown and click on the adjusted grid line. NOTE If you want to hear your changes immediately, you can activate Musical Mode for this procedure. The warping will be recalculated after each edit. Applying swing If you find that your audio sounds too straight, for example, after having used the “Auto Adjust” function, you can add swing. PROCEDURE 1. Activate Musical Mode. 2.
Sample Editor Warping audio Free Warp The Free Warp tool allows you to change the timing of individual positions in the audio material. The Free Warp tool snaps to hitpoint positions and/or warp markers. The Free Warp tool creates warp markers. Warp markers are a kind of marker or anchor that can be attached to musically relevant time positions in an audio event, for example, the first beat of every bar.
Sample Editor Warping audio 4. On the Transport panel, activate the Click button, and play back your audio clip to determine positions where the beat is not on time with the click. If you find it difficult to pinpoint an exact position in the audio event, you can use the Scrub tool and/or zoom in the view. 5. On the AudioWarp tab, select the Free Warp tool, place the pointer at the position of the beat that you want to adjust, click, and hold.
Sample Editor Working with hitpoints and slices Resetting warp modifications You can reset your Free Warp edits. PROCEDURE • Click Reset on the AudioWarp tab. This also resets Disable Warp Changes on the same tab. NOTE If Musical Mode is activated, only Free Warp edits are reset. Working with hitpoints and slices Cubase can detect hitpoints, musically relevant positions, by analyzing onsets and melodic changes. At these positions a type of marker is added.
Sample Editor Working with hitpoints and slices Hitpoints can also be used to quantize audio material without creating slices. RELATED LINKS Creating Groove Quantize Presets on page 246 Quantizing MIDI and Audio on page 234 Which audio files can be used? Here are some guidelines as to what type of audio files are suited for slicing using hitpoints: • Each individual sound should have a noticeable attack. Slow attacks, legato playing, etc. may not produce the expected result.
Sample Editor Working with hitpoints and slices • To disable automatic hitpoint detection, select File > Preferences > Editing > Audio and deactivate Enable Automatic Hitpoint Detection. • In the Project window, hitpoints are shown for the selected event, provided that the zoom factor is high enough. To hide them, select File > Preferences > Event Display > Audio and disable Show Hitpoints on Selected Events.
Sample Editor Working with hitpoints and slices Using Hitpoints to Locate Audio Positions in the Project Window You can navigate through the hitpoints of an audio event in the Project window. PREREQUISITE Enable Automatic Hitpoint Detection is activated (File > Preferences > Editing > Audio). PROCEDURE 1. Select the audio track that contains the audio event for which you want to locate hitpoints. 2.
Sample Editor Working with hitpoints and slices An enabled, a disabled, and a locked hitpoint Disabling and locking hitpoints After applying the different hitpoint filters, you may find that you want to keep individual hitpoints that were filtered out or disable hitpoints that you do not need. Furthermore, you may want to lock certain hitpoints. • To lock a hitpoint, move the mouse pointer over the gray triangle on the timeline so that the tooltip “Lock Hitpoint” is shown. Click on the triangle.
Sample Editor Working with hitpoints and slices Resetting hitpoints Sometimes it can be useful to reset hitpoints to their original state, e. g. because you still want them to be affected by the Threshold slider. PROCEDURE • To reset hitpoints to their original state, press [Ctrl]/[Command]-[Alt]/[Option] so that the tooltip “Enable/Unlock Hitpoints” is shown and drag a rectangle over the hitpoints. RESULT All disabled and locked hitpoints within the area defined by the rectangle are reset.
Sample Editor Working with hitpoints and slices Slicing audio Once you have set up the hitpoints as needed, you can slice the audio by clicking the Create Slices button on the Hitpoints tab. Alternatively, you can select the “Create Audio Slices from Hitpoints” command from the Hitpoints submenu of the Audio menu. The following happens: • The Sample Editor closes. • The audio event is “sliced” so that the sections between the hitpoints become separate events, all referring to the same original file.
Sample Editor Working with hitpoints and slices Also consider activating auto fades for the corresponding audio track – fade-outs set to about 10 ms will help eliminate any clicks between the slices when you play back the part. If the project tempo is higher than the tempo of the original audio event, the slice events are overlapping. Activate auto crossfades for the track to smooth out the sound.
Sample Editor Working with hitpoints and slices Create Groove You can generate a groove quantize map based on hitpoints that you have created. RELATED LINKS Creating Groove Quantize Presets on page 246 Create Markers If an audio event contains calculated hitpoints, you can click the Create Markers button on the Hitpoints tab to add a marker for each hitpoint. If your project has no marker track, it will be added and activated automatically. Markers can be useful to snap to hitpoints, e. g.
Sample Editor VariAudio (Cubase Pro only) The following options are available: Velocity Mode/Velocity • Dynamic Velocity Value – The velocity values of the created MIDI notes vary, according to the peak levels of the corresponding hitpoints. • Fixed Velocity Value – The created MIDI notes get the same velocity value. You can set this value using the Velocity field. Pitch/Length • Hitpoints do not contain any information about pitch or duration.
Sample Editor VariAudio (Cubase Pro only) VariAudio allows you to change your audio on the vertical axis and on the horizontal axis. If you load projects with VariAudio files in Cubase Artist, the original files will be played back and your VariAudio modifications will be ignored. If you want to hear your modifications in Cubase Artist, you will have to bounce the audio files that have been edited with the Cubase Pro VariAudio features.
Sample Editor VariAudio (Cubase Pro only) NOTE The audio waveform displayed on the VariAudio tab is always shown as mono, even if you have opened a stereo or multi-channel file. The piano keyboard to the left of the waveform indicates the pitch positions. By moving a segment vertically, you can change its average pitch. Note pitches represent the perceived fundamental frequency of a sound. The note A4 is perceived to be of the same pitch as a sine wave of 440 Hz.
Sample Editor VariAudio (Cubase Pro only) Applying editing, offline processes, and VariAudio The following offline processes and edits that affect the length of the audio file may lead to the reanalysis of the audio material: • Options on the Select Process menu, on the Process tab of the Sample Editor Inspector, or in the Process submenu of the Audio menu that can be applied to selections.
Sample Editor VariAudio (Cubase Pro only) • If you activate the “Please don’t display this warning again” option in one of these warning dialogs before proceeding, Cubase will always proceed with the selected option. You can reactivate the warning messages by deactivating the “Inhibit warning when changing the Sample Data” or “Inhibit warning when applying Offline Processes” options in the Preferences dialog (VariAudio page).
Sample Editor VariAudio (Cubase Pro only) Changing the note start or end point If you find that a note starts or ends too early or too late, e. g. when the reverb of a note or a consonant is not included in the segment, proceed as follows: PROCEDURE 1. On the VariAudio tab activate Segments mode. 2. To change the length of a segment, move the mouse pointer over the start/end of the segment. The mouse pointer becomes a double arrow. 3. Click and drag the segment start/end to the left or right.
Sample Editor VariAudio (Cubase Pro only) RESULT The segment is cut accordingly taking Snap into account. IIMPORTANT MPORTANT When the resulting segment pitch cannot be calculated because of an increase in non-tonal data, the segment will be deleted. NOTE There is a minimum size for a segment. Very short segments cannot be cut. Gluing segments IIMPORTANT MPORTANT We recommend to correct the segmentation before pitching.
Sample Editor VariAudio (Cubase Pro only) Moving segments horizontally After cutting a segment it may be necessary to move segments horizontally, for example, if you notice that a note is at the wrong position. PROCEDURE 1. On the VariAudio tab activate Segments mode. 2. Move the mouse pointer over the upper border of the segment. The mouse pointer becomes a double arrow. 3. Click and drag the whole segment to the left or right. RESULT The segment is moved accordingly.
Sample Editor VariAudio (Cubase Pro only) Pitch & Warp tool If you activate the Pitch & Warp tool on the VariAudio tab, you can change the pitch and the timing of your audio. MPORTANT IIMPORTANT Before changing the pitch or timing of your segments, make sure that the segments you want to change are correct You can edit the pitch and timing of audio segments for corrective purposes but also creatively.
Sample Editor VariAudio (Cubase Pro only) There are three different modes that affect the way in which a note will snap to a certain pitch that can be accessed using the following modifier keys: Option Description Default modifier Absolute Pitch Snapping Pitches the segment to the [Ctrl]/[Command] next semitone. Relative Pitch Snapping None Snaps the segment in relation to its current deviation in cents, i. e.
Sample Editor VariAudio (Cubase Pro only) Quantize Pitch You can also quantize the audio pitch upwards or downwards to iteratively reduce the deviation from the nearest semitone position. PROCEDURE 1. Select the segments that you want to quantize. 2. Move the Quantize Pitch slider to the right. RESULT The selected segments are quantized iteratively. NOTE You can set up a key command for Quantize Pitch in the Sample Editor category of the Key Commands dialog.
Sample Editor VariAudio (Cubase Pro only) 3. Drag upwards/downwards with the mouse to change the micro-pitch curve. If the pitch falls at the end of the segment… …activate the Pitch & Warp tool, point at the top right corner and drag upwards. Changing the Pitch-Curve for Segment Start or End If you want to change the pitch modulation only for the segment start or end, you can set an “anchor point” to specify which part of the segment is affected. PROCEDURE 1.
Sample Editor VariAudio (Cubase Pro only) If you set a tilt anchor… …and press [Alt]/[Option], the mouse pointer becomes a diagonal arrow… …to indicate that you can rotate the micro-pitch curve. 4. Repeat the steps above to set anchors and tilt the micro-pitch curve until you are satisfied with the result. If you want to remove a tilt anchor from a segment, hold down [Alt]/[Option], position the mouse pointer at the top border of the segment until it turns to a glue tube, and click.
Sample Editor VariAudio (Cubase Pro only) …the micro-pitch curve is straightened. The pitch of the selected segments is straightened. Muting Segments You can mute or unmute individual segments using the Pitch & Warp tool. PROCEDURE 1. Move the mouse pointer over the bottom center of a segment. An x symbol appears. 2. Click the x symbol to mute the segment. The segment is grayed out to indicate that it is muted. 3. To unmute the segment, click the x symbol again.
Sample Editor VariAudio (Cubase Pro only) 4. When you are done, deactivate the MIDI Input button. NOTE MIDI controller data like pitchbend or modulation are ignored. RELATED LINKS Virtual Keyboard on page 210 Warping segments Time correction, i. e. warping at segment level, is useful if you want to align a musical accent to a certain position, or change or quantize the timing of single segments in monophonic vocal recordings. When warping audio segments, warp markers will be created.
Sample Editor VariAudio (Cubase Pro only) • You can change the insert position of a warp marker in the audio by clicking and dragging the warp marker handle in the ruler. This will change the warping. • Hold down [Shift] (by default) to delete warp markers. To delete a warp marker, hold down the tool modifier so that the pointer becomes an eraser and click on the warp handle.
Sample Editor VariAudio (Cubase Pro only) 2. Move the mouse pointer over the start of the segment so that it becomes a double arrow and drag the segment start to the beginning of the bar. The segment border snaps to the grid at the exact bar position. Now the beginning of the segment matches the beginning of the bar, but we want the beginning of the waveform to match the beginning of the bar: 3.
Sample Editor VariAudio (Cubase Pro only) Reset This pop-up menu at the bottom of the VariAudio tab allows you to reset the modifications you performed with the Pitch & Warp tool. It also lets you reset the changes you made in Segments mode by reanalyzing the audio and returning to the original segmentation.
Sample Editor VariAudio (Cubase Pro only) If you want to compare the original to the modified audio (i. e. hear the audio without pitch or warp modifications), you have the following possibilities: • You can disable your pitch modifications by clicking the Disable Pitch Changes button on the VariAudio tab or by setting up and using the “VariAudio - Disable Pitch Changes” key command in the Key Commands dialog, Sample Editor category.
Sample Editor VariAudio (Cubase Pro only) 5. On the Pitch Mode pop-up menu, specify which data should be included when extracting the MIDI part. The following options are available: Option Description Just Notes and No Only notes are included in the MIDI part. Pitchbend Data Notes and Static Pitchbend Data A pitchbend event is created for each segment. Select a pitchbend value from 1 to 24 in the Pitchbend Range field.
Sample Editor Generating Harmony Voices for Monophonic Audio (Cubase Pro only) Option Description New MIDI Track A new MIDI track will be created for the MIDI part. Project Clipboard The MIDI part is copied into the clipboard so that you can insert it at the desired position on a MIDI or instrument track in the Project window. NOTE If you have opened the Sample Editor from the Pool and the audio file is not part of your project, the MIDI part will be inserted at the beginning of the project. 8.
Sample Editor Flattening realtime processing 3. On the Audio menu, select “Generate Harmony Voices…”. 4. Specify the number of voices that you want to create and enter a value for the vibrato reduction. RESULT The new voices follow the soprano, alto, tenor, and bass voices from the chord track voicing. To open all voices in the Sample Editor, activate the “Open Sample Editor After Completion” option. This allows you to view and edit the different voices.
Sample Editor Flattening realtime processing PROCEDURE 1. Select the audio events that you want to process. 2. On the Audio menu, open the Realtime Processing submenu and select the Flatten command. Provided that the time stretching factor is not outside the range of 0.5 and 2, a dialog opens where you can select an algorithm for the processing. If the audio has been transposed, the dialog also contains the “Formant Correction” option.
Sample Editor Flattening realtime processing The Realtime presets can be selected from the Algorithm pop-up menu on the Sample Editor toolbar. In the Pool, you can select an algorithm for several selected clips at a time.
Audio Part Editor The Audio Part Editor allows you to view and edit the events inside audio parts. Essentially, this is the same type of editing that you do in the Project window. Audio parts are created in the Project window in one of the following ways: • Select one or several audio events on the same track, and select Audio > Events to Part. • Glue together two or more audio events on the same track with the Glue tool. • Draw an empty part with the Draw tool.
Audio Part Editor Window Overview Toolbar The tools, settings, and icons on the toolbar have the same functionality as in the Project window, with the following differences: • A Solo button. • Separate tools for auditioning (Speaker) and scrubbing. • No Line or Glue Tube tools. • Play and Loop icons and an Audition Volume control. • Independent Track Loop settings.
Audio Part Editor Opening the Audio Part Editor Opening the Audio Part Editor The Audio Part Editor can display several parts at once, and you can also have more than one Audio Part Editor open at the same time. PROCEDURE 1. Select one or more audio parts in the Project window. 2. Double-click on any one of them or use the Edit-Open key command, by default [Ctrl]/[Command]-[E]. Double-clicking on an audio event in the Project window will open the Sample Editor.
Audio Part Editor Operations Operations Zooming, selecting and editing in the Audio Part Editor are done just as in the Project window. NOTE If a part is a shared copy (i. e. you have previously copied the part by [Alt]/[Option]-[Shift] and dragging), any editing you perform will affect all shared copies of this part. RELATED LINKS Project Window on page 43 Auditioning There are several ways to listen to the events in the Audio Part Editor.
Audio Part Editor Operations By Using Regular Playback You can of course use the regular playback controls while in the Audio Part Editor. Furthermore, if you activate the Solo Editor button on the toolbar, only the events in the edited part will be played back. Using Key Commands If you activate the “Playback Toggle triggers Local Preview” option in the Preferences dialog (Transport page), you can start/stop auditioning by pressing [Space]. This is the same as clicking the Audition icon on the toolbar.
Audio Part Editor Operations RELATED LINKS Using the Setup options on page 1032 Scrubbing In the Audio Part Editor, the Scrub tool has a separate icon on the toolbar. Apart from that, scrubbing works exactly as in the Project window.
Audio Part Editor Options and Settings • The “Show Part Borders” button can be used if you want to see clearly defined borders for the active part. When this is activated, all parts except the active one are grayed out, making the borders easily discernible. There are also two markers in the ruler with the name of the active part, marking its beginning and end. These can be moved freely to change the part borders. • It is possible to cycle between parts, making them active using key commands.
Pool Every time that you record on an audio track, a file is created on your hard disk. A reference to this file, a clip, is added to the Pool. The following rules apply to the Pool: • All audio and video clips that belong to a project are listed in the Pool. • Every project has a separate Pool. The way the Pool displays folders and their contents is similar to the way the Windows Explorer/Mac OS Finder display folders and file lists.
Pool Pool Window Pool Window The Pool window allows you to manage the media files of the active project. You can open the Pool in the following ways: • On the Project window toolbar, click the Open Pool Window button. If this icon is not visible, you must activate the Media & MixConsole Windows option on the toolbar context menu. • Select Project > Pool. • Select Media > Open Pool Window.
Pool Pool Window Toolbar 1) Show Info Activates/deactivates the info line. 2) Audition If this option is activated and you select a clip in the Pool, it is played back. 3) Audition Loop If this option is activated, the playback of the selected clip is looped. 4) Volume Lets you specify the playback volume. 5) View/Attributes Lets you activate/deactivate which attributes are displayed in the Pool window. 6) Open/Close all folders Opens/Closes all folders.
Pool Pool Window Status Displays various icons that relate to the current Pool and clip status. The following symbols can be displayed: • Indicates the current Pool record folder. • Indicates that a clip has been processed. • Indicates that a clip is referenced in the project but missing from the Pool. • Indicates that the file the clip related to is external, for example, located outside the current Audio folder for the project.
Pool Pool Window Date Displays the date when the audio file was last changed. Origin Time Displays the original start position where a clip was recorded in the project. As this value can be used as a basis for the Insert into Project option in the Media or context menu, you can change it if the Origin Time value is independent (for example, not for regions).
Pool Working with the Pool Customizing the View You can set up which columns are shown or hidden and rearrange the order of the columns in the Pool. • To specify which columns are shown or hidden, open the View/Attributes menu on the toolbar, and activate or deactivate items. • To rearrange the order of columns, drag a column heading to the left or right. Working with the Pool NOTE Most of the Pool-related main menu functions are also available on the Pool context menu.
Pool Working with the Pool RESULT A new version of the clip appears in the same Pool folder. The duplicated clip has the same name as the original but with a version number after it. Regions within a clip are also copied, but keep their name. Inserting Clips into a Project To insert a clip into a project, you can either use the insert commands on the Media menu or use drag and drop. Inserting Clips into a Project Via Menu Commands PROCEDURE 1.
Pool Working with the Pool Deleting Clips from the Pool You can delete clips from the Pool with or without deleting the corresponding file from the hard disk. Removing Clips from the Pool NOTE Removing clips from the Pool does not delete the corresponding file from the hard disk. PROCEDURE 1. In the Pool window, select the clips that you want to remove, and select Edit > Delete You can also press [Backspace] or [Delete]. 2.
Pool Working with the Pool 2. Depending on whether the clips are used by an event, you have the following options: • If the clips are used by an event, click Remove and then click Trash. • If the clips are not used by an event, click Trash. 3. Select Media > Empty Trash. 4. Click Erase. RESULT The files are deleted from the hard disk. Removing Unused Clips from the Pool You can find all clips in the Pool that are not used in the project. This allows you to quickly remove all unused clips.
Pool Working with the Pool Locating Events via Clips in the Pool You can find out which events in the project refer to a particular clip in the Pool. PROCEDURE 1. In the Pool window, select one or more clips. 2. Select Media > Select in Project. RESULT All events that refer to the selected clips are now selected in the Project window. Locating Clips via Events in the Project Window You can find out which clip belongs to a particular event in the Project window. PROCEDURE 1.
Pool Working with the Pool 3. Use the Location pop-up menu to specify where to search. The pop-up menu lists all your local drives and removable media. • To limit the search to certain folders, select Select Search Path, and in the dialog that opens, select the folder in which you want to search. The search will include the selected folder and all subfolders.
Pool Working with the Pool 4. Optional: To display more search options, open the extended search pop-up menu, select the Add filter submenu, and select an element. 5. Optional: To save your search filter settings as a preset, open the extended search pop-up menu, select Presets > Save Preset, and enter a name for the preset. Saved presets are added to the Presets submenu. 6.
Pool Working with the Pool Locating Missing Files PROCEDURE 1. Select Media > Find Missing Files. 2. In the Resolve Missing Files dialog, decide if you want the program to find the file for you (Search), if you want to find it yourself (Locate), or if you want to specify in which directory the program will search for the file (Folder). • If you select Search, a dialog opens to let you specify which folder or disk will be scanned by the program.
Pool Working with the Pool Removing Missing Files from the Pool If the Pool contains audio files that cannot be found or reconstructed, you may want to remove these. PROCEDURE • In the Pool window, select Media > Remove Missing Files. RESULT All missing files from the Pool and the corresponding events from the Project window are removed. Auditioning Clips in the Pool You can audition clips in the Pool using key commands, the Audition button, or by clicking in the waveform image for a clip.
Pool Working with the Pool Opening Clips in the Sample Editor The Sample Editor allows you to perform detailed editing on the clip. • To open a clip in the Sample Editor, double-click a clip waveform icon or a clip name in the Media column. • To open a certain region of a clip in the Sample Editor, double-click a region in the Pool. You can use this to set a snap point for a clip, for example.
Pool Working with the Pool • Various video formats NOTE You can also use the commands on the Import submenu of the File menu to import audio or video files into the Pool. RELATED LINKS Broadcast Wave files on page 949 Importing ReCycle files on page 1016 Importing compressed audio files on page 1017 Video File Compatibility on page 980 Importing Audio CDs in the Pool You can import tracks or sections of tracks from an audio CD directly into the Pool.
Pool Working with the Pool Convert to Project If you are importing a single audio file, you can convert the sample rate provided that the sample rate is different than the one set for the project. You can also convert the sample size provided that the sample size is lower than the record format that is used in the project. If you are importing several audio files at once, the Import Options dialog contains a Convert and Copy to Project if needed checkbox instead.
Pool Working with the Pool Exporting Regions as Audio Files If you have created regions within an audio clip, these can be exported as separate audio files. If you have two clips that refer to the same audio file, you can create a separate audio file for each clip. PROCEDURE 1. In the Pool window, select the region that you want to export. 2. Select Audio > Bounce Selection. 3. Select the folder in which you want the new file to be created and click OK. 4.
Pool Working with the Pool RESULT The new folder becomes the Pool Record folder. Any audio recorded in the project will be saved in this folder. Organizing Clips and Folders If you accumulate a large number of clips in the Pool, it can be difficult to quickly find specific items. Organizing clips in new subfolders with names that reflect the content can be a solution. For example, you could put all sound effects in one folder, all lead vocals in another, etc. PROCEDURE 1.
Pool Working with the Pool Undoing Processing You can undo processing that has been applied to clips. PROCEDURE 1. In the Pool window, select the clip from which you want to remove the processing. 2. Select Audio > Offline Process History. 3. Select the action that you want to remove, and click Remove. Minimizing Files You can minimize the audio files according to the size of the audio clips referenced in the project.
Pool Working with the Pool Importing and Exporting Pool Files (Cubase Pro only) You can import or export a Pool as a separate file (file extension “.npl”). • To import a Pool file, select Media > Import Pool. When you import a Pool file, its file references are added to the current Pool. NOTE Since the audio and video files are only referenced but not saved in the Pool file, the Pool import is only useful if you have access to all referenced files.
Pool Working with the Pool Convert Options Dialog In this dialog, you can change the file format and attributes of audio files in the Pool. To open the Convert Options dialog, select a clip in the Pool window, and select Media > Convert Files. Sample Rate Allows you to convert to another sample rate. Sample Width Allows you to convert to 16 Bit, 24 Bit, or 32 Bit Float. Channels Allows you to convert to Mono or Stereo Interleaved.
Pool Working with the Pool Conforming Files You can align the file attributes with the project attributes. This is useful if the attributes of the selected files are different from the project attributes. PROCEDURE 1. In the Pool window, select the clips that you want to conform. 2. Select Media > Conform Files. 3. Select whether to keep or replace the original unconverted files in the Pool. • If you select the Replace option, files in the Pool and in the Audio folder of the project are replaced.
MediaBay With the MediaBay, you can manage all your media files and presets from multiple sources. To open the MediaBay, select Media > MediaBay, or press [F5]. The MediaBay is divided into several sections: 1) Define Locations Allows you to create presets for locations on your system that you want to scan for media files. 2) Locations Allows you to switch between the previously defined locations.
MediaBay Working With the MediaBay 3) Filters Allows you to filter the results list using a logical or an attribute filter. 4) Results Displays all found media files. You can filter the list and perform text searches. 5) Previewer Allows you to preview the files shown in the results list. 6) Attribute Inspector (Cubase Pro only) Allows you to view, edit, and add media file attributes or tags.
MediaBay Define Locations Section A transparent pane appears, containing checkboxes for the different sections. 2. Deactivate the checkboxes for the sections that you want to hide. You can also use key commands for this: use the [Up]/[Down] and [Left]/[Right] arrow keys to step through the checkboxes and press [Space] to activate/deactivate the selected checkbox. 3. When you are done, click outside the pane to exit the setup mode.
MediaBay Scanning Your Content • Light blue indicates that the folder has been scanned. • Dark blue indicates that a folder is excluded from the scan. • Orange indicates that the scanning process for the folder was interrupted. • Yellow indicates that a folder has not yet been scanned. VST Sound Node The VST Sound node is a shortcut to your user content and the factory content files, including the preset folders.
MediaBay Locations Section Rescanning If you have made changes to the content of specific media folders and want those changes to be displayed in the MediaBay you must rescan them. • To rescan the selected folder and its subfolders, click the Rescan button in the Define Locations section. You can also right-click a folder and select Rescan Disk. • To rescan only the folders that have changed since the last scan, right-click in the Define Locations section, and select Quick Rescan Disk.
MediaBay Locations Section 4) Remove Browse Location Definition Removes the selected browse location. 5) Deep Results If this option is activated, the media files that are located in the subfolders of the selected location are also displayed in the results list. Defining Locations You can define locations, that is shortcuts to the folders that you want to work with. These are shown in the Locations section. PREREQUISITE Set up the Define Locations section and scan the content. PROCEDURE 1.
MediaBay Results Section • To remove a location from the pop-up menu, select it and click the Remove Browse Location Definition button. • To show the files contained in the selected folder and any subfolders, activate the Deep Results button. When this button is deactivated, only the folders and files contained in the selected folder are shown. Results Section The Results list shows all media files that are found in the selected location.
MediaBay Results Section RESULT Depending on the track type, the following happens: • Audio files, MIDI loops, and MIDI files are inserted on the active track if this matches the file type or onto a new track if no corresponding track is active. The files are inserted at the project cursor position. • If you double-click a track preset it is applied to the active track if the track type matches the track preset. Otherwise, a new track is inserted, containing the settings of the track preset.
MediaBay Results Section • To change the order of the columns in the Results list, click on a column header, and drag that header to another position. • To delete a file, right-click it in the list and select Delete. The file is permanently deleted from your computer. MPORTANT IIMPORTANT If you delete a file using the Windows Explorer/Mac OS Finder, it is still displayed in the Results list, although it is no longer available to the program. To remedy this, re-scan the corresponding folder.
MediaBay Results Section 2. In the Show Media Types dialog, activate the media types that you want to be displayed in the Results list. When you have filtered the list to show a particular media type, this is indicated by the corresponding icon to the left of Select Media Types button. When you have selected several media types, the Mixed Media Type icon is used. Show Media Types Selector You can activate the media types that you want to be displayed in the Results list.
MediaBay Results Section Plug-in Presets When this option is activated, the list shows all VST presets for instrument and effect plug-ins. Furthermore, EQ presets that you save in the MixConsole are listed. These presets contain all parameter settings for a particular plug-in. They can be used to apply sounds to instrument tracks and effects to audio tracks. Strip Presets When this option is activated, the list shows all strip presets (file name extension .strippreset).
MediaBay Previewer Section Performing a Text Search You can perform a text search in the Results list. If you enter text in the text search field, only media files whose attributes match the entered text are displayed. The Search Results field has the same function as the matches operator of the logical filter. However, the search is applied to all file attributes. • Click in the field and enter the text that you want to find.
MediaBay Previewer Section NOTE Some MediaBay-specific preferences affect the playback of media files. RELATED LINKS MediaBay Preferences on page 550 Previewing Audio Files 1) Transport Controls Let you start, stop, pause, and cycle the preview. 2) Preview Level Fader Lets you specify the preview level. 3) Auto Play New Results Selection If this option is activated, the selected file is automatically played back.
MediaBay Previewer Section Previewing MIDI Files MPORTANT IIMPORTANT To preview a MIDI file, you must select an output device from the Output pop-up menu. 1) Transport Controls Let you start and stop the preview. 2) Preview Level Fader Lets you specify the preview level. 3) Output Lets you select the output device. 4) Auto Play New Results Selection If this option is activated, the selected file is automatically played back.
MediaBay Previewer Section 2) Preview Level Fader Lets you specify the preview level. 3) Auto Play New Results Selection If this option is activated, the selected file is automatically played back. 4) Link Playback to Chord Track If this option is activated, the events of the MIDI loop are transposed to play back in context with the chord track. Note that you need a chord track with chord events for this.
MediaBay Previewer Section Virtual Keyboard on page 210 Previewing Presets Via MIDI Input MIDI input is always active, for example, when a MIDI keyboard is connected to your computer and set up properly, you can directly start playing the notes to preview the selected preset. Previewing Presets Using a MIDI File PROCEDURE 1. On the Previewer Sequence Mode pop-up menu, select Load MIDI File. 2. In the file dialog that opens, select a MIDI file and click Open.
MediaBay Previewer Section When you stop playing notes and wait for 2 seconds, the note sequence that you played until this moment is played back in a continuous loop. To use another sequence, start entering notes again. Previewing Presets Via the Computer Keyboard NOTE If you activate the Computer Keyboard Input button, the computer keyboard is used exclusively for the Previewer section.
MediaBay Filters Section 4) Auto Play New Results Selection If this option is activated, the selected file is automatically played back. 5) Link Playback to Chord Track If this option is activated, the events of the MIDI loop are transposed to play back in context with the chord track. Note that you need a chord track with chord events for this. If this option is activated, and you insert a MIDI loop into the project, Follow Chord Track is automatically activated for the track.
MediaBay Filters Section equals The search result must correspond exactly to the text or number specified in the text field to the right, including any file extension. Text searches are not case-sensitive. >= The search result must be higher than or equal to the number specified in the field to the right. <= The search result must be lower than or equal to the number specified in the field to the right. is empty Use this option to find files for which certain attributes have not been specified yet.
MediaBay Filters Section 5. On the condition pop-up menu, select one of the search operators. 6. Enter the text or number that you want to find in the field to the right. NOTE If you enter 2 or more strings or filter lines, the files that are found match all strings or filter lines. • To add more than one string in the text field, enter a [Space] between them. • To add another filter line, click the + button to the right of the text field.
MediaBay Filters Section About Attributes for Media Files Attributes for media files are sets of meta data providing additional information on the file. The different types of media files have different attributes. For example, .wav audio files have attributes like name, length, size, sample rate, etc., while .mp3 files have additional attributes such as artist or genre.
MediaBay Filters Section Applying an Attribute Filter With the Attribute filter you can quickly find audio files with certain attributes. • To apply an Attribute filter, click on an attribute value. The Results list is filtered accordingly. Apply more attribute filters to restrict the result even more. • To find files that match either one or the other attribute, [Ctrl]/[Command]-click different attribute values in the same column.
MediaBay Attribute Inspector Resetting the Filter PROCEDURE • To reset the filter, click the Reset Filter button at the top of the Filters section. This also resets the Results list. Attribute Inspector When you have selected one or more files in the Results list, the Attribute Inspector shows a list of attributes and their values. In the Attribute Inspector, you can also edit and add new attribute values. The available attributes are divided into several groups (Media, Musical, Preset, etc.
MediaBay Attribute Inspector Configuration Mode When you click the Configure Defined Attributes button, the configuration mode is enabled. Select Media Types Lets you select one or several media types. You can then manage which attributes are displayed in the Attribute Inspector for the selected media types. +/Opens the Add User Attribute dialog, where you can add or remove custom user attributes. You can select the Attribute Type and the Display Name.
MediaBay Attribute Inspector Color Schemes in the Attribute Inspector The color of an attribute value indicates if and in which form you can edit an attribute. White One or more files are selected in the Results list, and they have the same values. Yellow Multiple files are selected in the Results list, and their values differ. Orange Multiple files are selected in the Results list, with differing values, and which cannot be edited.
MediaBay Attribute Inspector • Some attributes cannot be edited. If this is the case, the file format probably does not permit changing this value, or changing a particular value makes no sense. For example, you cannot change the file size in the MediaBay. PROCEDURE 1. In the Results list, select the file that you want to make settings for. The corresponding attribute values are displayed in the Attribute Inspector. You can also select several files and make settings for them simultaneously.
MediaBay Attribute Inspector Editing Attributes of Multiple Files Simultaneously You can tag multiple files at the same time. There is no limit as to how many files can be tagged at the same time, but the tagging of a large amount of files in one go can take a while. The tagging operation is executed in the background, so that you can continue with your work as usual. By looking at the Attribute Counter above the Results list, you can see how many files still have to be updated.
MediaBay Attribute Inspector Managing Attribute Lists In the Attribute Inspector, you can define which attributes are displayed in the Results list and in the Attribute Inspector itself. For different media types, individual attribute sets can be configured. PROCEDURE 1. In the Attribute Inspector, click the Defined button. 2. Click the Configure Defined Attributes button to enter configuration mode. 3.
MediaBay Loop Browser, Sound Browser, and Mini Browser 4. In the Add User Attribute dialog, specify the Attribute Type and the Display Name. The display name must be unique in the attribute list. The Database Name field indicates if a certain name is valid or not. 5. Click OK. RESULT The new attribute is added to the list of available attributes and is displayed in the Attribute Inspector and the Results list.
MediaBay MediaBay Preferences Show Managed Locations Only If this option is activated, all folders that are not scanned for files are hidden. This keeps the tree view in the Define Locations section less cluttered. Use Current Selection as Base Location If this option is activated, only the selected folder and its subfolders are shown. Scan Folders only when MediaBay is open If this option is activated, Cubase only scans for media files when the MediaBay window is open.
MediaBay MediaBay Key Commands MediaBay Key Commands You can display the available MediaBay key commands from within the MediaBay window. This is useful if you want to get a quick overview over the assigned and the available MediaBay key commands. • To open the key commands pane, click the Key Commands button in the lower left corner of the MediaBay. • To close the key commands pane, click anywhere outside of the pane. • To assign or modify a key command, click the corresponding key command.
MediaBay Working with MediaBay-Related Windows Click the Browse button to expand the dialog to show the Results list. Only file types that can be used in this context are shown. Applying Effect Presets If you have added an insert effect to a track, you can choose from a variety of presets via the Results browser for the effect slot. PROCEDURE 1. In the Inserts tab of the Inspector, click the Select Preset icon below the preset name. 2. In the Results browser, double-click a preset to apply it.
MediaBay Working with MediaBay-Related Windows Applying Track Presets You can choose from a variety of track presets. PROCEDURE 1. In the Inspector, click the Preset Management icon on the right of the Inserts tab. 2. Select From Track Preset. 3. In the Results browser, double-click a track preset to apply it. RELATED LINKS Track Presets on page 160 Applying Instrument Presets When working with VST instruments, you can choose from a variety of presets via the Results browser. PROCEDURE 1.
MediaBay Working With Volume Databases VST presets for instruments can be divided into the following groups: Presets Presets contain the settings of the entire plug-in. For multi-timbral instruments, this means the settings for all sound slots as well as the global settings. Programs Programs contain only the settings for one program. For multi-timbral instruments, this means only the settings for one sound slot.
MediaBay Working With Volume Databases NOTE When you launch Cubase, all available volume databases are automatically mounted. Databases that are made available while the program is running have to be mounted manually. Rescanning and Refreshing Volume Databases If you have modified the scan settings on a different system, you must rescan or refresh the MediaBay.
MediaBay Working With Volume Databases Removing a Volume Database If you have worked on another computer using an external hard disk and return to your own computer and connect the external device again as part of your system setup, you do not need a separate volume database for it any more. Any data on this drive can then be included in the local database file again, by removing the extra database file.
Surround Sound (Cubase Pro only) Cubase has integrated surround sound features with support for several formats. This support goes all the way through the audio path: all audio-related channels (i. e. audio and instrument tracks as well as group channels) and busses can handle multi-channel speaker configurations. A channel in the MixConsole can either carry complete surround mixes, or an individual speaker channel which is part of a surround setup.
Surround Sound (Cubase Pro only) Deliverables Deliverables The result of a surround mix in Cubase is either the multi-channel audio sent from the surround output bus to your dubber, or (if you use the Export Audio Mixdown feature) audio file(s) on your hard disk. Exported surround mixes can either be split (one mono file per speaker channel) or interleaved (a single file containing all the surround channels).
Surround Sound (Cubase Pro only) Preparations Quadro The original Quadraphonic format for music, with one speaker in each corner. This format was intended for vinyl record players. LRCS+LFE Same as LRCS but with an LFE subchannel added. Quadro+LFE Same as Quadro but with an LFE subchannel added. 6.0 Cine A Left-Right-Center front speaker arrangement with 3 (Left-Right-Center) surround channels. 6.
Surround Sound (Cubase Pro only) Preparations Routing You can use the Routing rack in the MixConsole to route audio-related tracks to output busses or group channels with a surround configuration. RELATED LINKS Setting Up Direct Routing on page 344 Routing channels to individual surround channels If you want to place an audio source in one separate speaker channel, you can route it directly to that speaker channel.
Surround Sound (Cubase Pro only) Using the SurroundPanner V5 Input bus configuration To work with surround sound in Cubase, it is often not necessary to configure a surround format input bus. You can record audio files via standard inputs, and easily route the resulting audio channels to surround outputs at any stage. You can also directly import multi-channel files of a specific surround format onto audio tracks of the same format.
Surround Sound (Cubase Pro only) Using the SurroundPanner V5 • In the Inspector, a miniature surround pan control can be displayed in the Surround Pan section. This panner view offers click and drag panning as well as speaker channel icons reflecting the solo/mute and deactivation states. NOTE In all miniature panner views you can scale down your movements by holding the [Shift] key while moving the sound source. This allows you to make fine adjustments.
Surround Sound (Cubase Pro only) Using the SurroundPanner V5 The plug-in panel Double-click on any of the miniature panner controls to open the plug-in panel in a separate window. The SurroundPanner V5 plug-in offers numerous possibilities to position a mono or stereo sound source. If you work visually oriented, you can simply drag the sound source around in the pan area. To help you execute very exact movements you can use modifier keys to limit the movement direction (e. g.
Surround Sound (Cubase Pro only) Using the SurroundPanner V5 Positioning signals in the pan area In the pan area, you see a graphical representation of the sound source, with the left and right channels shown in yellow and red. Here, you can position the sound source using the mouse: • By clicking at the desired position in the pan area. When you release the mouse button, the sound source jumps to that position (with the positioning handle, i. e.
Surround Sound (Cubase Pro only) Using the SurroundPanner V5 Speaker channels – Solo and Mute vs. Disabling The speakers that are distributed around the surround field represent the output configuration. You can disable speakers or solo/mute them. This speaker is muted. This speaker is soloed. This speaker is disabled. • [Alt]/[Option]-click on a speaker symbol to disable that speaker (the speaker symbol is grayed out) so that no audio will be routed to this surround channel.
Surround Sound (Cubase Pro only) Using the SurroundPanner V5 • By clicking on one of the icons above the pan area, the corresponding positioning mode is activated persistently. That way you do not have to keep the corresponding modifier key pressed all the time. To deactivate the selected positioning mode, switch back to standard mode. The following modes are available: Icon Modifier key(s) Description - Standard mode, no restrictions apply.
Surround Sound (Cubase Pro only) Using the SurroundPanner V5 IIMPORTANT MPORTANT • When panning in independent positioning mode, automation data is written for several parameters. Due to this, special automation rules apply. • Automation data for the independent positioning mode is always written for the complete sound source, not for individual channels.
Surround Sound (Cubase Pro only) Using the SurroundPanner V5 NOTE The Overview Mode is only used for visualizing the complex scenarios that you can create with the SurroundPanner V5. The actual panning is done in the standard view. Therefore, the speakers are visible in this mode, but cannot be soloed/muted or disabled. Left-right and front-rear panning These two controls are used to pan the sound source from left to right and front to rear, and vice versa.
Surround Sound (Cubase Pro only) Using the SurroundPanner V5 Orbit Center This is the main control that allows you to perform the rotation. Radius When using the Orbit Center control, the Radius encoder allows you to control the distance of the sound source from the center of the surround field (without changing the angle). An example: a) Radius = 141.4 b) Radius = 116.5 The gray circle shows the theoretical path of the sound source when orbiting the center.
Surround Sound (Cubase Pro only) Using the SurroundPanner V5 The LFE encoder Use the LFE encoder in the plug-in panel to set the signal amount sent to the LFE (Low Frequency Effects) channel. NOTE The LFE channel is used as a full range channel, no low-pass filtering is applied. Center Distribution The Center Distribution control is used to distribute part or all of the center signal to the left and right front speakers.
Surround Sound (Cubase Pro only) Using the SurroundPanner V5 Blue horizontal and vertical lines visualize the effects when changing the divergence settings. For example, by using the front divergence, you can acoustically intensify the distance from the action on screen as perceived by the audience. • At 0 % the perception is very focused (concentrated in one spot). • At 100 % the perception is very diffuse (hard to locate). NOTE The Center Distribution value and the front divergence are combined.
Surround Sound (Cubase Pro only) Using the SurroundPanner V5 General plug-in controls The Bypass Effect button At the top left of the plug-in panel you will find a button to bypass the SurroundPanner V5. If this is activated, the panner attempts to route the input signals to the appropriate output channels (e. g. the left and right front speakers if panning a stereo signal to a 5.1 configuration).
Surround Sound (Cubase Pro only) Using the MixConvert V6 plug-in Constant power “What goes in, must come out again.” This principle can be taken literally with regard to the SurroundPanner V5. It means that the power of a source channel is identical to the power of the corresponding output signal. The advantage of this is that the overall volume as perceived by the listener (= the power) is always the same, regardless of the signal panning, e. g.
Surround Sound (Cubase Pro only) Exporting a surround mix • On Windows systems, you can also export a 5.1 surround mix to a file in Windows Media Audio Pro format. This is an encoding format tailored for 5.1 surround.
Automation In essence, automation means recording the values for a particular MixConsole or effect parameter. When you create your final mix, Cubase can adjust this particular parameter control. Automation Curves Within a Cubase project, the changes in a parameter value over time are reflected as curves on automation tracks. There are two kinds of automation curves: 1) Ramp curves Ramp curves are created for any parameter that generates continuous multiple values, such as fader or encoder movements.
Automation Write/Read Automation Write/Read Automation You can automation enable tracks and MixConsole channels by activating their automation write W and read R buttons. • If you activate W for a channel, virtually all MixConsole parameters that you adjust during playback for that specific channel are recorded as automation events. • If R is activated for a channel, all your recorded MixConsole actions for that channel are performed during playback.
Automation Writing Automation Data Automatic Writing of Automation Data Every action that you perform is automatically recorded on automation tracks which you can later open for viewing and editing. PROCEDURE 1. In the track list, click Show/Hide Automation for a track to open its automation track. 2. Click W to enable the writing of automation data on this track. 3. Start playback. 4. Adjust the parameters in the MixConsole, in the Channel Settings window, or in the effect control panel.
Automation Writing Automation Data 4. Click on the static value line. An automation event is added, read automation mode is automatically activated, and the static value line changes to a colored automation curve. 5. Click and hold to draw a curve by adding many automation events. When you release the mouse button, the number of automation events is reduced. NOTE To adjust the thinning out of events, select File > Preferences > Editing and change the Automation Reduction Level. 6. Start playback.
Automation Editing Automation Data Parabola mode If you click and drag on the automation track with the Line tool in Parabola mode, you can create more natural curves and fades. NOTE The result depends on the direction from which you draw the parabolic curve.
Automation Editing Automation Data Removing Automation Events • To remove an automation event, click on it with the Erase tool. • To remove multiple automation events, select them and press [Backspace] or [Delete] or select Edit > Delete. When Use Virgin Territory is enabled, this creates a gap. When disabled, the events within the range are removed.
Automation Automation Tracks • To tilt the left or the right part of the curve, click in the upper left or right corner of the editor. This is useful if the curve form is exactly the way that you want it, but the start or end needs to be boosted or attenuated a bit. • To compress the left or the right part of the curve instead, [Alt]/[Option]-click in the upper left or right corner of the editor.
Automation Automation Tracks Showing/Hiding Automation Tracks • Position the mouse pointer over the lower left corner of the track and click the arrow icon (Show/Hide Automation) that appears. • Right-click the track in the track list and select Show/Hide Automation from the context menu. • To open another automation track, position the mouse pointer over the lower left corner of an automation track, and click + (Append Automation Track).
Automation Virgin Territory vs. Initial Value (Cubase Pro only) Muting Automation Tracks By muting an automation track you turn off automation for a single parameter. • To mute individual automation tracks, click their Mute buttons in the track list. Virgin Territory vs. Initial Value (Cubase Pro only) For parameter automation, Cubase works either with an initial value or with virgin territory.
Automation Automation Panel Defining a Terminator Point You can define any automation event on the automation curve as the terminator point of this part of the curve. This will automatically delete the line between this event and the next one, creating a gap. PROCEDURE 1. In the automation curve, click the event that you want to define as the last point to select it. 2. In the Project window info line set Terminator to Yes. The line between this event and the next one is deleted and a gap is created.
Automation Automation Panel Automation Modes Cubase provides three different punch out modes for automation: Touch, Auto-Latch, and Cross-Over. In all three modes, automation data will be written as soon as a parameter control is touched in play mode. They differ in their punch out behavior. The automation modes are available on the upper part of the Automation panel and on the Project window toolbar on the Global Automation Mode pop-up menu.
Automation Automation Panel NOTE You can set the time it takes for the parameter to reach the previously set value with the Return Time setting in the Automation Preferences. RELATED LINKS Automation Settings on page 594 Auto-Latch Auto-Latch is useful in situations where you want to keep a value over a longer period of time – for example when making EQ settings for a particular scene. In Auto-Latch mode, there is no specific punch out condition other than those that are valid in all modes.
Automation Automation Panel • Once your pass has started, the writing of automation data continues for as long as playback lasts or Write is enabled. • When you release the control the automation pass continues, with the value setting remaining the same. • When you re-touch the fader and move it towards the original value, punch out occurs automatically as soon as you cross the original curve.
Automation Automation Panel • Drag the trim curve up or down and add automation events to it. These increase or decrease the values of the original automation curve, but allow you to preserve the original data. You can use Trim either in Stop or in Play mode: • In Stop mode, you can edit the trim curve manually by clicking on it and moving it up or down. The original automation curve is displayed in a lighter color and its values are merged with the trim curve.
Automation Automation Panel Delete Automation in Range Deletes all automation data between the left and right locators on all tracks. Fill Gaps on Selected Tracks This option is used with virgin territories. Select this to fill any gaps in the automation curves of the selected tracks with a continuous value. The value of the last event (the end point) of a section is used to fill the gap. This value is written across the gap up to one millisecond before the first event of the next automated section.
Automation Automation Panel Activating To Punch PROCEDURE 1. On the Automation Panel, activate Touch, and activate To Punch as Fill option. 2. Start playback. 3. Move the fader until you have found the volume setting that you need and release the fader to punch out. The volume curve is set from the point of punch out back to where you punched in.
Automation Automation Panel Activating Loop PREREQUISITE You have set up a loop range with the left and right locators. PROCEDURE 1. On the Automation Panel, activate Touch, and activate Loop to activate it as Fill option. 2. Start playback. 3. Move the fader until you have found the volume setting that you need and release the fader to punch out. The found value is set within the range that is defined by the left and right locators.
Automation Automation Panel Suspend Options This section on the Automation Panel allows you to exclude specific parameters from the reading or writing of automation data. This way, you have full manual control of these parameters. Suspend Read Suspending Read for a specific parameter during automation gives you full manual control of it. • To suspend the reading of automation data for a specific parameter, click the corresponding parameter.
Automation Automation Panel EXAMPLE Imagine the following situation: To help you concentrate while working on a particular track, you mute several other tracks. However, because write automations are active on these tracks, this mute state is also automated during the next automation pass – a classic situation in mixing. To avoid inadvertently excluding whole tracks from your mix in this way, you can exclude Mute from all automation writing.
Automation MIDI Controller Automation Continue Writing If you activate this option, the recording of automation will not be blocked when locating to a new position. This can be used to perform multiple automation passes in Cycle mode or if you are using the arranger functions. If this option is deactivated and you write automation data and locate to another position in the project, the writing will be stopped until the mouse button is released or until a Stop command is received.
Automation MIDI Controller Automation Automation Merge Modes This pop-up menu is only available for controllers that can be recorded both for a part and a track. The settings that you make for a controller are applied to all MIDI tracks that use this controller. Use Global Settings When this is selected, the automation track uses the global Automation Merge Mode that is specified in the MIDI Controller Automation Setup dialog.
Automation MIDI Controller Automation MIDI Controller Automation Setup In the MIDI Controller Automation Setup dialog, you can specify how existing MIDI automation is handled on playback and new automation data is recorded in a MIDI part or as track automation. All settings that you make in this dialog are saved with the project.
Automation MIDI Controller Automation Record Destination Click in the Record Destination column for a MIDI controller to open the pop-up menu where you can choose where you want recorded data of this particular MIDI Controller to end up. Automation Merge Mode Click in the Automation Merge Mode column for a MIDI controller to specify what happens with data for this specific controller on playback. Save As Default Allows you to save the current settings as default settings.
VST Instruments VST instruments are software synthesizers or other sound sources that are contained within Cubase. They are played internally via MIDI. You can add effects or EQ to VST instruments. Cubase allows you to make use of VST instruments in the following ways: • By adding an instrument in the VST Instruments window. This creates a VST instrument channel, which can be played by one or several MIDI tracks routed to it. • By creating an instrument track.
VST Instruments VST Instruments Window The following controls can be found in the VST Instruments window: 1) Add Track Instrument Opens the Add Instrument Track dialog that allows you to select an instrument and add an instrument track that is associated to this instrument. 2) Find Instruments Opens a selector that allows you to find an instrument in the VST Instruments window.
VST Instruments VST Instruments Window 3) Freeze Instrument Freezes the instrument. This allows you to save CPU power. 4) Instrument Selector Allows you to select another instrument. Double-click to rename the instrument. The name is shown in the VST Instruments window in the Output Routing pop-up menu for MIDI tracks. This is useful when you work with several instances of the same instrument. 5) Input Options This lights up when MIDI data is received by the instrument.
VST Instruments Adding VST Instruments Add Track Instrument Opens the Add Instrument Track dialog that allows you to select an instrument and add an instrument track that is associated to this instrument. Add Rack Instrument Opens a selector that allows you to add a VST instrument. Instruments Context Menu The following functions are available in the instruments context menu: Copy/Paste instrument Setting Allows you to copy the instrument settings and paste them to another instrument.
VST Instruments Presets for Instruments RESULT If you chose Add Track Instrument, the instrument control panel opens, and an instrument track with the name of the instrument is added to your project. If you chose Add Rack Instrument, the instrument control panel opens, and the following tracks are added to the track list: • A MIDI track with the name of the instrument. The output of the MIDI track is routed to the instrument.
VST Instruments Presets for Instruments 2. In the preset browser, select a preset from the list and double-click it to load it. RESULT The preset is applied. To return to the previously loaded preset, open the preset browser again and click Revert to Last Setting Saving VST Presets You can save your settings on VST instruments as VST presets for further use. PROCEDURE 1.
VST Instruments VST Quick Controls Saving Track Presets You can save your settings on instrument tracks as Track presets for further use. PROCEDURE 1. Do one of the following: • Select the instrument track and in the Inspector, click the Save Track Preset button. • Right-click the instrument track and from the context menu, select Save Track Preset. 2. In the Save Track Preset dialog, enter a name for the preset. 3. Optional: Click Show Attribute Inspector and define attributes for the preset. 4.
VST Instruments VST Quick Controls 6. In the Control Name column, select QuickControl 1. 7. On your remote control device, move the control that you want to use for the first quick control. 8. Select the next slot in the Control Name column and repeat the previous steps. 9. Click OK. NOTE In addition to using the Learn function to set up the table in the Quick Controls section, you can modify the values manually.
VST Instruments Playing Back VST Instruments 3. Activate Pick-up Mode. 4. Click OK. Playing Back VST Instruments After you have added a VST instrument and selected a sound, you can play back the VST instrument using the instrument or MIDI track in your project. PROCEDURE 1. In the track list, activate the Monitor button for the track that has the VST instrument loaded. 2. Press one or more keys on your MIDI keyboard or use the virtual keyboard.
VST Instruments Playing Back VST Instruments Freezing Instruments If you are using a moderately powerful computer or a large number of VST instruments, your computer may not be able to play back all instruments in realtime. At this point, you can freeze instruments. PROCEDURE 1. Do one of the following: • Select Devices > VST Instruments. • Select the instrument track and open the top Inspector tab. 2. Click the Freeze button. 3. In the Freeze Instrument Options dialog, make your settings. 4.
VST Instruments About Latency Tail Size Allows you to set a Tail Size time to let sounds complete their normal release cycle. Unload Instrument when Frozen Activate to unload the instrument after freezing. This makes the RAM available again. About Latency The term latency stands for the time it takes for the instrument to produce a sound when you press a key on your MIDI controller. It can be an issue when using VST instruments in realtime. Latency depends on your audio hardware and its ASIO driver.
VST Instruments Import and Export Options Activating Constrain Delay Compensation turns off VST plug-ins which are activated for VST instrument channels, audio track channels that are record enabled, group channels, and output channels. VST plug-ins which are activated for FX channels are disregarded. After recording or using a VST instrument Constrain Delay Compensation should be deactivated again in order to restore full delay compensation.
VST Instruments Import and Export Options Filtering According to Media Type on page 530 Exporting MIDI Loops You can export MIDI loops to save a MIDI part together with its instrument and effect settings. This allows you to reproduce patterns that you created without having to search for the correct sound, style, or effect. PROCEDURE 1. Select an instrument part. 2. Select File > Export > MIDI Loop. A file dialog opens. 3. In the New MIDI Loop section, enter a name for the MIDI loop. 4.
VST Instruments External Instruments (Cubase Pro only) External Instruments (Cubase Pro only) An external instrument bus is an input (return) to your audio hardware, along with a MIDI connection via Cubase and few additional settings. External instrument busses are created in the VST Connections window. All external instrument busses that you have created will appear on the VST Instrument pop-up menus and can be selected in the same way as any VST instrument plug-in.
Installing and Managing Plug-ins Installing VST plug-ins Cubase supports the VST 2 and VST 3 plug-in standards. You can install effects and instruments that comply with these formats. A plug-in is a piece of software that adds a specific functionality to Cubase. The audio effects and instruments that are used in Cubase are VST plug-ins. NOTE If an effect or instrument plug-in has its own installation application, you should use this.
Installing and Managing Plug-ins Plug-in Manager Installing VST 2 Plug-ins on Mac OS X Systems To install a VST 2.x plug-in on Mac OS X systems, quit Cubase and drag the plug-in file to one of the following folders: • Library/Audio/Plug-Ins/VST/ This is only possible if you are the system administrator. Plug-ins that are installed in this folder are available to all users, for all programs that support VST 2.x.
Installing and Managing Plug-ins Plug-in Manager The lists of all effects or VST instruments are created automatically every time you start Cubase. You can also initiate a rescan at any time. This ensures that these lists are always up-to-date. • You can create your own lists of effects or instruments for use in the selectors for effects or instruments. User-defined lists are called collections.
Installing and Managing Plug-ins Plug-in Manager Collection list By default, the window section to the right shows the Default collection, which contains all effects or VST instruments currently loaded by the program. The Default collection cannot be changed. You can compile your own collections of effects or VST instruments by clicking New Collection and dragging and dropping items from the list of all effects or VST instruments to the collection list.
Installing and Managing Plug-ins Compiling a New Effects Collection The Plug-in Manager Settings button opens a section at the bottom of the window in which all current paths to VST 2 plug-ins are listed. You can add or remove folder locations by using the corresponding buttons. Click Rescan All to rescan your computer for plug-ins. RELATED LINKS Plug-in Manager on page 614 Compiling a New Effects Collection You can create a new collection of effects or VST instruments for use in the plug-in selectors.
Track Quick Controls Cubase can give you instant access to up to 8 different parameters, for example, track, effect, or instrument controls. This is done with the aid of the Quick Controls, set up on the Quick Controls tab in the Inspector for the corresponding track. The Quick Controls tab can be used as a kind of track control center, an area in which your most important parameters are assembled in one place.
Track Quick Controls Assigning Parameters to Quick Controls Assigning Parameters to Quick Controls The Quick Controls tab shows eight slots, one for each quick control. To start with, these slots are empty. Parameters can be assigned manually or retrieved automatically.
Track Quick Controls Assigning Parameters to Quick Controls PROCEDURE • Right-click the parameter. • To assign the parameter to the next empty slot, select Add “x” to Quick Controls (where x is the name of the parameter). • To assign the parameter to a specific slot, select Add “x” to Quick Controls Slot (where x is the name of the parameter). Then select the slot from the submenu.
Track Quick Controls Assigning Parameters to Quick Controls Manual Assignment via the Inspector Tab You can assign track parameters manually. PROCEDURE 1. In the Inspector for your track, open the Quick Controls tab. 2. On the Quick Controls tab, click on the first Quick Control slot. A pop-up menu opens. It lists all parameters currently accessible for this particular track. 3. Double-click the parameter that you want to assign to the first Quick Control slot.
Track Quick Controls Assigning Parameters to Quick Controls Removing Parameter Assignments • To remove a parameter from a slot, double-click the parameter name to select it and press the [Delete] or [Backspace] key. Confirm by pressing [Return]. Alternatively, you can click in the corresponding slot and select No parameter from the pop-up menu. • To remove the Quick Control assignments for all slots, click the Remove All QC Assignments button.
Track Quick Controls Connecting Quick Controls with Remote Controllers Saving/Loading Track Quick Control Assignments as Presets You can save and load your own Quick Control assignments as presets for audio, instrument, MIDI, FX, and group tracks. You can also use the factory presets. PROCEDURE 1. In the Inspector for your track, open the Quick Controls tab. For instrument tracks, the Track Quick Controls are automatically set to the 8 default VST Quick Controls of the loaded instrument by default.
Track Quick Controls Activating Pick-up Mode for Hardware Controls 7. On your remote control device, move the control that you want to use for the first quick control. 8. Select the next slot in the Control Name column and repeat the previous steps. 9. Click OK. NOTE In addition to using the Learn function to set up the table in the Quick Controls section, you can modify the values manually. The available options are identical to the ones available for the Generic Remote device.
Track Quick Controls Quick Controls and Automatable Parameters Quick Controls and Automatable Parameters You can use Quick Controls not only to access certain parameters of the current track, but also to control all automatable parameters. This makes it possible to use the Quick Controls tab of a dedicated track as a kind of “mini mixer”, controlling parameters on other tracks. IIMPORTANT MPORTANT Use this function with caution, however, as you might accidentally modify parameters on other tracks.
Remote controlling Cubase It is possible to control Cubase via MIDI. A large number of MIDI control devices is supported. This chapter describes how to set up Cubase for remote control. The supported devices are described in the separate PDF document “Remote Control Devices”. There is also a Generic Remote Device option, allowing you to use any MIDI controller to remote control Cubase.
Remote controlling Cubase Setting Up Selecting a remote device PROCEDURE 1. Open the Device Setup dialog from the Devices menu. 2. If you cannot find the remote device you are looking for, click on the plus sign in the top left corner and select the device from the pop-up menu. The selected device is added to the Devices list. NOTE Note that it is possible to select more than one remote device of the same type.
Remote controlling Cubase Operations IIMPORTANT MPORTANT Sometimes communication between Cubase and a remote device is interrupted or the handshaking protocol fails to create a connection. To re-establish communication with any device in the Devices list, select it and click the Reset button in the lower part of the Device Setup dialog. The “Send Reset Message to all Devices” button at the top left of the dialog next to the “+” and “-” buttons will reset every device in the Devices list.
Remote controlling Cubase Operations Writing automation using remote controls Automating the MixConsole in Touch mode using a remote control device is done in the same way as when you operate on-screen controls in Write mode. In order to replace existing automation data for a control in Touch mode, the computer needs to know how long the user actually “grabbed” or used the control. When doing this “on screen”, the program simply detects when the mouse button is pressed and released.
Remote controlling Cubase The Generic Remote device A note about remote controlling MIDI tracks While most remote control devices will be able to control both MIDI and audio channels in Cubase, the parameter setup may be different. For example, audio-specific controls (such as EQ) will be disregarded when controlling MIDI channels. Accessing device panel parameters via remote control devices (Cubase Pro only) Cubase allows you to control external MIDI devices through user device panels.
Remote controlling Cubase The Generic Remote device 2. Click the “+” sign in the top left corner and select the “Generic Remote” device from the pop-up menu. When the Generic Remote device is added in the Device Setup dialog, you can open the corresponding window by selecting “Generic Remote” from the Devices menu. 3. Select the Generic Remote device in the Devices list to the left.
Remote controlling Cubase The Generic Remote device Column Description MIDI Status Clicking in this column opens a pop-up menu, allowing you to specify the type of MIDI message sent by the control (e. g. Controller, Prog. Change Trigger). The NRPN and RPN controllers are part of the MIDI specification and present a way to extend the available control messages.
Remote controlling Cubase The Generic Remote device Column Device Description Clicking in this column opens a pop-up menu, used for determining which device in Cubase is controlled. The special “Command” option allows you to perform certain command actions by remote control. One example of this is the selection of remote banks. Channel/ This is where you select the channel to be controlled or, if the Category “Command” Device option is selected, the Command category.
Remote controlling Cubase Track Quick Controls Importing and exporting remote setups The Export button in the top right corner of the Generic Remote Setup window allows you to export the current setup, including the Control configuration (the table at the top) and all banks. The setup is saved as a file (with the file extension “.xml”). Clicking the Import button allows you to import saved remote setup files.
Remote controlling Cubase The Remote Control Editor Layout Section The main area of the editor is the Layout section. Layouts represent the hardware devices that are used to remote-control the plug-in parameters. Like these devices, a layout can have a number of pages. These pages contain a number of cells, which in turn contain controls. The available controls are a text label, a knob, and two switches.
Remote controlling Cubase The Remote Control Editor Status Bar When you position the mouse pointer over an element in the editor window, the status bar shows information on what you can do with this element. Setting up the Standard Layout Click the “Set up Cell Layout” button to open the Cell Layout Configuration panel. Here, you can make the following settings: • Use the pop-up menu to specify the number of cells per page.
Remote controlling Cubase The Remote Control Editor Control Type Settings for Knobs The following control types are available for knobs: Standard A standard knob with undefined LED style. Toggle Switch This is best used for parameters with two states, like On/Off buttons. LED Ring An LED ring is shown around the knob. The setting increases clockwise. LED Ring (counter-clockwise) An LED ring is shown around the knob. The setting increases counter-clockwise from right to left.
Remote controlling Cubase The Remote Control Editor The following options are available for switches: Momentary The assigned function is active for as long as you keep the switch pressed. Increasing Stepwise Pressing the switch steps through the available settings until the maximum is reached. Decreasing Stepwise Pressing the switch steps through the available settings in reverse order until the minimum is reached.
Remote controlling Cubase The Remote Control Editor 4. Click on another control to set the Learn focus to that control and assign a parameter to it. 5. Press [Esc] to end Learn mode. Removing the Parameter assignment • To remove the parameter assignment for a cell, activate Learn mode, select the cell, and press [Delete] or [Backspace]. • To remove all assignments, click the “Remove All Assignments” button.
Remote controlling Cubase The Remote Control Editor Rearranging the order of a page or a cell • To copy the settings of one cell to another, select a cell, press [Alt]/[Option] and drag it to another cell. • To move a cell, drag it to an empty cell. • To swap the contents of two cells, press [Ctrl]/[Command] and drag one cell to the other. NOTE Drag and drop also works between different pages. Navigating • You can use the cursor keys to navigate in all directions.
Remote controlling Cubase Apple Remote (Macintosh only) Resetting the Layout and Copying Layout Settings between Pages Click the arrow button in the top right corner of the editor to revert to the default settings for the current layout or to copy the settings of one layout page to another. Apple Remote (Macintosh only) Many Apple computers come with an Apple Remote Control, a small hand-held device akin to TV remote controls. It allows you to remotely control certain features in Cubase. PROCEDURE 1.
Remote controlling Cubase Apple Remote (Macintosh only) NOTE When the “Disable when application is not in front” option is not selected, the Apple Remote will control Cubase even if it does not have the focus.
MIDI realtime parameters and effects For each MIDI track, you can set up a number of track parameters, or modifiers, and MIDI effects. These affect how the MIDI data is played back, “transforming” MIDI events in realtime before they are sent to the MIDI outputs. On the following pages, the available parameters and effects are described. Keep in mind: • The actual MIDI events will not be affected – the changes happen “on the fly”.
MIDI realtime parameters and effects The Inspector sections • You can fold or unfold the sections individually by clicking on the section name. Clicking the name for a hidden section brings it to view and hides the other sections. [Ctrl]/[Command]-clicking the tab allows you to hide or show a section without affecting other sections. [Alt]/[Option]-clicking a tab shows or hides all sections in the Inspector.
MIDI realtime parameters and effects The Inspector sections Input transformer button Opens the Input Transformer dialog, allowing you to transform incoming MIDI events in realtime. Record enable button Activate this to make the track ready for recording. Monitor button When this is activated (and the “MIDI Thru Active” option is activated in the Preferences dialog, MIDI page), incoming MIDI will be routed to the selected MIDI output.
MIDI realtime parameters and effects The Inspector sections Map pop-up menu Allows you to select a drum map for the track. NOTE • Note that the functionality of the Bank and Program selector settings (used for selecting sounds in the connected MIDI instrument) depends on the instrument to which the MIDI output is routed, and how you have set it up in the MIDI Device Manager.
MIDI realtime parameters and effects The Inspector sections NOTE If you want to compare the result of your modifier settings with the “unprocessed” MIDI, you can use the Bypass button in the MIDI Modifiers section. When this is activated, the MIDI Modifiers settings will be temporarily disabled. A bypassed section is indicated by a yellow Bypass button. Transpose This allows you to transpose all notes on the track in semitones.
MIDI realtime parameters and effects The Inspector sections Velocity Compression This function multiplies the velocity values with the factor you specify. This factor is set using a numerator (left value) and a denominator (right value), resulting in a fractional number (1/2, 3/4, 3/2 etc.). For example, if you set the factor to 3/4, the velocities will be three quarters of their original values.
MIDI realtime parameters and effects The Inspector sections When you apply Hermode Tuning to tracks that use VST 2 instruments, the played notes are retuned with every keystroke. Dynamic retuning while notes are playing is only possible with VST 3 instruments that support Micro Tuning and Note Expression. For VST instruments that support Note Expression, Hermode Tuning also works in MIDI Thru mode.
MIDI realtime parameters and effects The Inspector sections NOTE This transposition does not change the actual notes in the part. It only affects the notes on playback. The transposition that you specify for a part on the info line is added to the transposition set for the whole track. RELATED LINKS Transpose Functions on page 271 Setting up random variations There are two separate “random generators”, set up in the following way: PROCEDURE 1.
MIDI realtime parameters and effects The Inspector sections Setting up ranges PROCEDURE 1. Open the Range pop-up menu and select one of the following four modes: 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.
MIDI realtime parameters and effects MIDI effects VST Instrument section If the MIDI track is routed to a VST instrument, a new section will appear at the bottom of the Inspector, labeled with the name of the VST instrument. Clicking this section shows a duplicate of the Inspector settings for the VST instrument channel. This makes it easy to adjust the channel settings for the VST instrument while you are editing the MIDI track.
MIDI realtime parameters and effects MIDI effects Just like the MIDI modifiers, MIDI effects are applied in realtime to the MIDI data played back from the track (or to MIDI you play live “thru” the track). What are MIDI effects? Although a MIDI effect can be similar to an audio effect, it is important to remember that you are not processing the sound resulting from MIDI playback, but the MIDI data (the “instructions” for how the music is played back).
MIDI realtime parameters and effects MIDI effects Preset Management button Click this to open the Preset Management pop-up menu that allows you to save your settings as preset or to rename or remove the current preset. Inserts State indicator and Bypass button The symbol on the right of the title bar is blue when an insert effect is activated. You can click the symbol to bypass all insert effects for the track.
MIDI realtime parameters and effects MIDI effects Effect selection pop-up menu (x4) Selecting an effect from this pop-up menu automatically activates it and brings up its control panel (which can be a separate window or a number of settings below the send slot in the Inspector).To remove a send effect completely, select “No Effect”. On button (x4) Allows you to turn the selected effect on or off.
MIDI realtime parameters and effects MIDI effects 1) MIDI In and Out activity indicators 2) Save and Remove Preset buttons • To load a preset, select it from the Presets pop-up menu of the plug-in. • To save your current settings as a preset, click on the “+” button (“Save Preset”) to the right of the Presets menu. You will be asked to specify a name for the preset. The saved preset will then be available for selection from the pop-up menu for all instances of that MIDI plug-in, in all projects.
MIDI realtime parameters and effects MIDI effects 5. Use the control panel to make settings for the effect. All included MIDI effects are described in the separate PDF document “Plug-in Reference”. • You can bypass the insert effect by clicking its power button (above the insert slot). • To bypass all insert effects for the MIDI track, use the bypass button in the MIDI Inserts section in the Inspector, in the MixConsole toolbar or in the track list.
Using MIDI devices The MIDI Device Manager allows you to specify and set up your MIDI devices, making global control and patch selection easy. But the MIDI Device Manager also features powerful editing functions that can be used to create MIDI device panels (Cubase Pro only). MIDI device panels are internal representations of external MIDI hardware, complete with graphics.
Using MIDI devices MIDI devices – general settings and patch handling Unfortunately, different instrument manufacturers use different schemes for how Bank Select messages are constructed, which can lead to some confusion and make it hard to select the correct sound. Also, selecting patches by numbers this way seems unnecessarily cumbersome, when most instruments use names for their patches nowadays.
Using MIDI devices MIDI devices – general settings and patch handling MIDI Device Manager dialog in Cubase Artist. Installed Devices List of connected MIDI devices. The first time you open the MIDI Device Manager, this list will be empty. Install Device/Remove Device Use these buttons to install/remove devices. Export Setup/Import Setup Use these buttons to import/export XML Device setups. Open Device (Cubase Pro only) This button opens the selected device.
Using MIDI devices MIDI devices – general settings and patch handling Note that there is an important difference between installing a preset MIDI device (“Install Device”) and importing a MIDI device setup (“Import Setup”): • The presets do not include any device mapping of parameters and controls and no graphic panels. They are simply patch name scripts. When you install a preset MIDI device, it is added to the Installed Devices list.
Using MIDI devices MIDI devices – general settings and patch handling Defining a new MIDI device (Cubase Artist only) If your MIDI device is not included in the list of pre-configured devices (and is not a “plain” GM or XG device), you need to define it manually to make it possible to select patches by name. PROCEDURE 1. In the MIDI Device Manager, click the Install Device button. The Add MIDI Device dialog opens. 2. Select “Define New…” and click OK. A dialog appears. 3.
Using MIDI devices MIDI devices – general settings and patch handling 6. Select Patch Banks from the pop-up menu at the top of the window. RESULT The Patch Banks list in the left half of the window shows the patch structure of the device. This could simply be a list of patches, but it is usually one or several layers of banks or groups containing the patches (much like a folder structure on a hard disk for example).
Using MIDI devices MIDI devices – general settings and patch handling Cubase Artist only: Devices with several banks have an additional tab “Bank Assignment”. Select this tab to specify for each MIDI channel which bank it should use. The selection here will affect which bank is displayed when you select programs by name for the device in the track list or Inspector.
Using MIDI devices MIDI devices – general settings and patch handling 3. Click a patch in the list to select it. This sends the appropriate MIDI message to the device. You can also scroll the program selection up or down, as with any value. Renaming patches in a device The pre-configured devices list is based on the factory-preset patches, i. e. the patches included in the device when you first bought it.
Using MIDI devices MIDI devices – general settings and patch handling The Commands pop-up menu contains the following items: Create Bank Creates a new bank at the highest hierarchical level of the Patch Banks list. You can rename this by clicking on it and typing a new name. New Folder Creates a new subfolder in the selected bank or folder. This could correspond to a group of patches in the MIDI device, or just be a way for you to categorize sounds, etc.
Using MIDI devices MIDI devices – general settings and patch handling Adding Multiple Presets PROCEDURE 1. Add the event types required for selecting a patch in the MIDI device. This is done just as when editing the settings for a single event: clicking in the event display brings up a pop-up menu from which you can select an event type. 2. Use the Range column to set up either a fixed value or a range of values for each event type in the list.
Using MIDI devices About Device panels (Cubase Pro only) About Device panels (Cubase Pro only) On the following pages we will describe how to use MIDI Device panels and the powerful MIDI device panel editing features of the MIDI Device Manager. NOTE We recommend that you first configure the patch banks, then export the device setup before editing the panels. This way, most of your settings will be saved in case of panel configuration problems. The panels are saved in XML format.
Using MIDI devices About Device panels (Cubase Pro only) 5. Select a device and click OK. The device is added to the list of installed devices in the MIDI Device Manager. 6. Select the correct MIDI output from the Output pop-up menu, select the device in the list and click the Open Device button. The device panel opens in a separate window. The Edit (“e”) button at the top opens the Edit Panel window, see the separate PDF document “MIDI Devices”. 7.
Using MIDI devices About Device panels (Cubase Pro only) NOTE If you cannot see any panels in the “Panels” folder, although you have successfully set up a MIDI device with several panels, make sure that you selected the correct channel from the Channel pop-up menu, preferably “Any” to see all device panels. Also make sure that the panels fit into the space, otherwise they will not be available in the “Panels” folder. Showing panels in the MixConsole PROCEDURE 1.
Using MIDI devices About Device panels (Cubase Pro only) If you click in the name field, all parameters in the device are shown and can be selected for automation. • To open another automation track for the next parameter on the pop-up menu, click the + button (“Append automation track”) at the bottom left of the automation track.
MIDI Processing This chapter describes the various MIDI processing functions available on the MIDI menu. They offer various ways to edit MIDI notes and other events, either in the Project window or from within a MIDI editor. MIDI functions vs. MIDI modifiers In some cases, the result of a MIDI function can also be obtained by using MIDI modifiers and effects. For example, the operations “Transpose” and “Quantize” are available both as MIDI modifiers and as MIDI functions.
MIDI Processing What is affected by the MIDI functions? What is affected by the MIDI functions? Which events are affected when you use a MIDI function depends on the function, the active window and the current selection: • Some MIDI functions only apply to MIDI events of a certain type. For example, quantization only affects notes, while the Delete Controllers function only applies to MIDI controller events.
MIDI Processing Making your settings permanent • Select a root note and scale type for the new scale from the lower pop-up menus. Make sure to select the correct root note if you want to keep the result in the same key as the original notes, or select an entirely different key if you want to experiment. Use Range When this is activated, transposed notes will remain within the limit that you specify with the Low and High values.
MIDI Processing Making your settings permanent The following settings for MIDI parts are taken into account as well: • The Transpose and Velocity settings for parts displayed on the info line – the Volume setting is not taken into account. Merge MIDI in Loop The “Merge MIDI in Loop” function combines all unmuted MIDI events on all unmuted tracks, applies MIDI modifiers and effects, and generates a new MIDI part, containing all the events as you would hear them during playback. PROCEDURE 1.
MIDI Processing Making your settings permanent Erase Destination If this is activated, any existing MIDI data between the left and right locators on the destination track will be deleted. Include Chase If this is activated, events placed outside the selected part but relating to it will be included in the processing, e. g. a Program Change right before the left locator. Convert VST3 If this is activated, all VST 3 data within the selected area is converted to MIDI data.
MIDI Processing Dissolve Part Dissolve Part The Dissolve Part function on the MIDI menu allows you to separate MIDI events according to channels or pitches: • When you work with MIDI parts (on MIDI channel “Any”) containing events on different MIDI channels, activate the “Separate Channels” option. • To separate MIDI events according to pitch, activate the “Separate Pitches” option. Typical examples are drum and percussion tracks, where different pitches usually correspond to separate drum sounds.
MIDI Processing Dissolve Part PROCEDURE 1. Select the parts containing MIDI data on different channels. 2. Select “Dissolve Part” from the MIDI menu. 3. In the dialog that opens, select the “Separate Channels” option. RESULT Now, for each MIDI channel used in the selected parts, a new MIDI track is created and set to the corresponding MIDI channel. Each event is then copied into the part on the track with the corresponding MIDI channel. Finally, the original parts are muted.
MIDI Processing Bounce MIDI Dissolving to lanes In the lower right section of the Dissolve Part dialog, you will find the “Dissolve to Lanes” option. When this is activated, the part will not be dissolved onto different tracks but onto different lanes of the original track, allowing for a better management of MIDI material that “belongs together”. This is useful when working with drums for example, as it allows you to split up a part into different drum sounds and edit these independently.
MIDI Processing Other MIDI functions Other MIDI functions The following items can be found on the Functions submenu of the MIDI menu: Legato Extends each selected note so that it reaches the next note. You can specify a gap or overlap for this function with the “Legato Overlap” setting in the Preferences dialog (Editing–MIDI page). When using Legato with this setting, each note will be extended to end 5 ticks before the next note.
MIDI Processing Other MIDI functions Pedals to Note Length This function scans for Sustain pedal on/off events, lengthens the affected notes to match the Sustain pedal off position, and then removes the Sustain Controller on/off events. Delete Overlaps (mono) This function allows you to make sure that no notes of the same pitch overlap (i. e. that one starts before the other ends).
MIDI Processing Other MIDI functions • To expand (create greater difference in velocity), use ratio values above 100 %. Before you expand, you may want to adjust the velocity with the Add/Subtract function, so that the average velocity is somewhere in the middle of the range.
MIDI Processing Other MIDI functions • The graphical length display can correspond to 1/4 bar, one bar, two bars or four bars. You change this setting by clicking in the field to the right of the display. In this case, the whole length display corresponds to two bars, and the Minimum Length is set to 32nd notes (60 ticks). Minimum Velocity When the Minimum Velocity checkbox is activated, the velocity of notes is taken into account, allowing you to remove weak notes.
MIDI Processing Other MIDI functions Thin Out Data Thins out MIDI data. Use this to ease the load on your external MIDI devices if you have recorded very dense controller curves, etc. NOTE Cubase Pro only: This also thins out MIDI controller and VST 3 events that form part of Note Expression data. You can also manually thin out the controller data by using the quantize function in the Key Editor.
MIDI Processing Other MIDI functions Reverse This function inverts the order of the selected events (or of all events in the selected parts) rhythmically, causing the MIDI music to play backwards. Note that the effect is different from reversing an audio recording. With MIDI, the individual notes will still play as usual in the MIDI instrument – it is only the order of playback that is changed.
MIDI Editors There are several ways to edit MIDI in Cubase. You can use the tools and functions in the Project window for large-scale editing or the functions on the MIDI menu to process MIDI parts in various ways. To manually edit your MIDI data on a graphical interface, you can use the MIDI editors. • The Key Editor is the default MIDI editor, presenting notes graphically in a piano roll-style grid. The Key Editor also allows for detailed editing of non-note events such as MIDI controllers.
MIDI Editors Changing the Default MIDI Editor 2. Do one of the following: • To open the Key Editor, select MIDI > Open Key Editor. • To open the Score Editor, select MIDI > Open Score Editor. • In Cubase Artist, select MIDI > Scores > Open Score Editor. To open the Drum Editor, select MIDI > Open Drum Editor. • To open the List Editor, select MIDI > Open List Editor. • To open the In-Place Editor, select MIDI > Open In-Place Editor. • To open the default MIDI editor, double-click a part.
MIDI Editors Common MIDI Editor Functions Common MIDI Editor Functions You can use the tools and functions within the MIDI editors to process MIDI parts in various ways. Changing the Display Format for the Ruler By default, the ruler shows the timeline in the display format that is selected on the transport panel. You can change the display format for the ruler. Click the arrow button to the right of the ruler and select an option from the pop-up menu.
MIDI Editors Common MIDI Editor Functions • To insert note events at the project cursor position, move, and if necessary split the existing note events to make room for the pasted notes, select Edit > Range > Paste Time. 1) Data on clipboard 2) Cursor position 3) Pasted data at cursor position Following the Project Cursor During Playback Auto-Scroll allows the event display to scroll during playback, keeping the project cursor visible in the window.
MIDI Editors Common MIDI Editor Functions Handling Note Events Coloring Notes and Events You can select different color schemes for the note events in the MIDI editor. The following options are available on the Event Colors pop-up menu on the toolbar: Velocity The note events get different colors depending on their velocity values. Pitch The note events get different colors depending on their pitch. Channel The note events get different colors depending on their MIDI channel value.
MIDI Editors Common MIDI Editor Functions Selecting Note Events The selected MIDI editor determines which of the following methods apply. Do one of the following: • to drag a selection rectangle around the Use the Object Selection tool note events that you want to select. You can also click individual events. • Select Edit > Select and select one of the options. • To select the previous or next note event, use the left or right arrow keys.
MIDI Editors Common MIDI Editor Functions Equal Pitch - all Octaves Selects all note events of the highlighted part that have the same pitch (in any octave) as the currently selected note event. NOTE This function requires that a single note event is selected. Equal Pitch - same Octave Selects all note events of the highlighted part that have the same pitch (same octave) as the currently selected note event. NOTE This function requires that a single note event is selected.
MIDI Editors Common MIDI Editor Functions Toggle Selections • To toggle selected elements within a selection rectangle, press [Ctrl]/[Command] and enclose the same elements within a new selection rectangle. Once you release the mouse button, the previous selection is deselected and vice versa. Deleting Note Events • To delete note events, click on them with the Erase tool or select them and press [Backspace].
MIDI Editors Common MIDI Editor Functions Duplicating and Repeating Note Events You can duplicate and repeat note events in the same way as events in the Project window. • To duplicate the selected note events, hold down [Alt]/[Option] and drag the note events to a new position. If Snap is activated, it determines to which positions you can copy notes. • To copy the selected note events and place them directly behind the original, select Edit > Functions > Duplicate.
MIDI Editors Common MIDI Editor Functions • Use the Edit Velocity tool modifier. The cursor changes into a speaker, and next to the note, a field with the Note Velocity slider shows the value. Move the mouse pointer up or down to change the value. Value changes are applied to all selected notes. For this, a tool modifier must be assigned for the Edit Velocity action. To see or edit the tool modifier, select File > Preferences > Editing > Tool Modifiers > Select Tool.
MIDI Editors Key Editor NOTE If the part that you open for editing is a shared copy, any editing that you perform affects all shared copies of this part. In the Project window, shared copies are indicated by an equal sign in the top right corner of the part. Looping MIDI Parts The Independent Track Loop function allows you to loop a MIDI part independent from the project playback.
MIDI Editors Key Editor 1) Toolbar Contains tools and settings. 2) Status line Informs about the mouse time position, mouse note position, and current chord display. 3) Info line Displays note event information about a selected MIDI note. 4) Ruler Displays the time line. 5) Key Editor Inspector Contains tools and functions for working with MIDI data. 6) Note display Contains a grid in which MIDI notes are displayed as boxes.
MIDI Editors Key Editor Toolbar The toolbar contains tools and settings for the Key Editor. • To show or hide the toolbar elements, right-click the toolbar and activate or deactivate the elements. Static Buttons Set up Window Layout Allows you to show/hide specific window sections, for example, the Status Line, the Info Line, the Inspector, etc. Which sections are available, depends on the MIDI editor. Solo Editor If this button is activated, you hear only the edited MIDI parts during playback.
MIDI Editors Key Editor Zoom Allows you to zoom in/out. Hold [Alt]/[Option] and click to zoom out. Line Allows you to create a series of contiguous events. Time Warp Allows you to adjust the tempo track so that material with a musical time base can be matched to material with a linear time base. Independent Track Loop Independent Track Loop Activates/Deactivates the independent track loop for the edited part.
MIDI Editors Key Editor Nudge Palette Trim Start Left Increases the length of the selected element by moving its start to the left. Trim Start Right Decreases the length of the selected element by moving its start to the right. Move Left Moves the selected element to the left. Move Right Moves the selected element to the right. Trim End Left Decreases the length of the selected element by moving its end to the left. Trim End Right Increases the length of the selected element by moving its end to the right.
MIDI Editors Key Editor Grid If this option is activated, the snap positions are set with the Grid Type pop-up menu. The available options depend on the display format selected for the ruler. Grid Relative If this option is activated, events keep their relative positions to the grid when they are moved. Events If this option is activated, the start and end positions of other events and parts are magnetic.
MIDI Editors Key Editor Move Insert Mode Activates/Deactivates the Move Insert mode. For this function, Step Input must be activated. Record Pitch If Step Input is activated, use this button to determine that the pitch is included when you insert notes. Record NoteOn Velocity If Step Input is activated, use this button to determine that NoteOn Velocity is included when you insert notes.
MIDI Editors Key Editor Mouse Note Position Displays the exact pitch of the mouse pointer position. This facilitates finding the right pitch when entering or transposing notes. Current Chord Display When the project cursor is positioned over notes that form a chord, the chord is displayed here. Independent Track Loop A mini-cycle, affecting only the MIDI part that is being edited. If Independent Track Loop is activated, MIDI events within the loop range are repeated continuously.
MIDI Editors Key Editor Expression Map (Cubase Pro only) Allows you to load an expression map. Expression maps are useful for working with articulations. Note Expression (Cubase Pro only) Contains functions and settings related to Note Expression. Chord Editing Allows you to enter chords instead of single notes. Quantize Allows you to access the main quantize parameters. These are identical with the functions on the Quantize panel.
MIDI Editors Key Editor Note Display The note display is the main area in the Key Editor. It contains a grid in which note events are shown as boxes. The width of a box corresponds to the note length. The vertical position of a box corresponds to the note number (pitch), with higher note events higher up in the grid. The piano keyboard helps you to find the right note number. Controller Display The area at the bottom of the Key Editor window is the controller display. It contains the controller events.
MIDI Editors Key Editor Operations Events other than velocity values are shown as blocks. The block corresponds to the event values. The beginning of an event is marked by a curve point. NOTE Unlike note events, controller events have no length. The value of a controller event in the display is valid until the beginning of the next controller event. Key Editor Operations This section describes the principal editing operations within the Key Editor.
MIDI Editors Key Editor Operations • To draw longer note events, click and drag in the note display. The length of the note event is a multiple of the Length Quantize value. If Length Quantize is set to Quantize Link, the note value is determined by the quantize grid. The Snap function is taken into account. Drawing Note Events with the Line Tool In the note display, the Line tool allows you to draw a series of contiguous note events along different line shapes.
MIDI Editors Key Editor Operations Moving and Transposing Note Events There are several options to move and transpose note events. • To move note events in the editor, select the Object Selection tool and drag them to a new position. All selected note events are moved, maintaining their relative positions. Snap is taken into account. • To allow only horizontal and vertical movement, hold down [Ctrl]/[Command] while dragging.
MIDI Editors Key Editor Operations • To apply time-stretching and Note Expression data (Cubase Pro only) to a controller that is associated with the note event that you resize, activate Sizing Applies Time Stretch for the Object Selection tool before you resize the note. • To move the start or end positions of the selected notes in steps according to the Length Quantize value on the toolbar, use the Trim Start/End buttons on the Nudge palette. • Select the note and adjust its length on the info line.
MIDI Editors Key Editor Operations Splitting Note Events Do one of the following: • To split the note at the position that you point, click on a note with the Split tool. If several notes are selected, they are all split at the same position. The snap setting is taken into account. • To split all notes that are intersected by the project cursor position, select Edit > Functions > Split at Cursor.
MIDI Editors Key Editor Operations Changing the Voicing of Chords PROCEDURE 1. In the Inspector, open the Chord Editing section. 2. In the note display, select the notes that you want to edit. 3. In the Chord Editing section, use the Inversions buttons and the Drop Notes buttons to change the voicing. RESULT The selected notes are transposed so that they fit the selected chord type.
MIDI Editors Key Editor Operations Triads Allows you to insert triads to the note display. You can also click one of the Triads buttons to transpose the selected notes so that they fit to the selected chord type. 4-Note Chords Allows you to insert 4-note chords to the note display. You can also click one of the 4-Note Chords buttons to transpose the selected notes so that they fit to the selected chord type. Inversions - Move highest note to bottom Inverts the highest note of a chord.
MIDI Editors Key Editor Operations Applying Chord Events to Note Events You can apply chord events from the chord track to notes in the MIDI editor. PREREQUISITE Create a chord track and add chord events. PROCEDURE 1. Open the MIDI editor. 2. In the Inspector, open the Chord Editing section. 3. Select Match with Chord Track. RESULT The first chord event of the chord track is applied to the selected notes. Only the basic chord type is applied. Tensions are not taken into account.
MIDI Editors Key Editor Operations Note Expression Data (Cubase Pro only) The Key Editor is the main editor for working with Note Expression. RELATED LINKS Expression maps (Cubase Pro only) on page 778 Editing Note Events via MIDI Since you can directly hear your editing results. Editing the properties of note events via MIDI can be a quick way to, for example, set the velocity value of a note event. PROCEDURE 1. In the Key Editor, select the note event that you want to edit. 2.
MIDI Editors Key Editor Operations Step Input Step input, or step recording, allows you to enter note events or chords one at a time without worrying about the exact timing. This is useful, for example, when you know the part that you want to record but are not able to play it exactly as you want it. PROCEDURE 1. On the toolbar, activate the Step Input button. 2. Use the note buttons to the right to determine which properties are included when you insert the note events.
MIDI Editors Key Editor Operations Using the Controller Display The Controller Display displays the controller events. By default, the controller display has a single lane that shows one event type at a time. However, you can add as many lanes as you need. The use of several controller lanes allows you to view and edit different controllers at the same time. Each MIDI track has its own controller lane setup (number of lanes and selected event types).
MIDI Editors Key Editor Operations • To select which type is displayed, open the Controller Selection and Functions pop-up menu and select an event type. Setting up Available Continuous Controllers In the MIDI Controller Setup dialog, you can specify which continuous controllers are available for selection. NOTE The MIDI Controller Setup dialog can be opened from different areas in the program.
MIDI Editors Key Editor Operations Handling Controller Lane Presets Once you have made up your controller lane setup, you can save it as a controller lane preset. For example, you can have a preset with one velocity lane and another preset with a combination of several controller lanes, such as velocity, pitchbend, or modulation. Saving a Controller Lane Setup as Preset You can save a controller lane setup via the Controller Lane Setup pop-up menu. PROCEDURE 1. Click the Controller Lane Setup button 2.
MIDI Editors Key Editor Operations • To edit events in the velocity controller display, use the Draw tool or the Line tool and drag the event. The Object Selection tool automatically switches to the Draw tool when you move the pointer into the controller display. When you move the pointer in the controller lane, the corresponding event type value is displayed below the event type name. In velocity mode, no new controller events are added this way.
MIDI Editors Key Editor Operations Editing Events in the Controller Display Using the Line Tool You can draw and edit events in the controller display with the Line tool. Line Mode In Line mode, you can draw events in a straight line. • To draw a straight line in the controller display, click where you want the ramp to start and drag the cursor to where you want the ramp to end. NOTE If Snap is activated the Length Quantize value determines the density of created controller curves.
MIDI Editors Key Editor Operations Sine, Triangle, and Square Mode The Sine, Triangle, and Square modes create events with values that are aligned to continuous curves. In these modes, the quantize value determines the period of the curve that is the length of one curve cycle and the Length Quantize value determines the density of the events. The lower the Length Quantize note value becomes, the smoother the curve gets.
MIDI Editors Key Editor Operations • To change the velocity of a single note, click on its velocity bar and drag the bar up or down. NOTE When you move the pointer inside a controller lane, the event type value changes corresponding to the pointer movement. The event type value is displayed below the event type name, left of the controller display. Editing Articulations (Cubase Pro only) You can add and edit musical expressions or articulations in the controller lane.
MIDI Editors Key Editor Operations Moving and copying dynamics events is identical to working with with other events on the controller lane. RELATED LINKS Moving Events in the Controller Display on page 726 Working with mapped dynamics on page 1315 Using Continuous Controllers When a continuous controller is selected for a controller lane, additional data is displayed on the controller lane.
MIDI Editors Key Editor Operations Poly Pressure Events Poly Pressure events are events that belong to a specific note number (key). That is, each poly pressure event has two editable values: the note number and the amount of pressure. When Poly Pressure is selected on the Controller Selection and Functions pop-up menu, there are two value fields to the left of the controller display, one for the note number and one for the amount. Adding Poly Pressure Events PROCEDURE 1.
MIDI Editors Key Editor Operations Controller Lane Editor The controller lane editor allows you to perform additional scaling operations for selection ranges on existing controller curves. In the controller lane editor, the following smart controls appear on the borders of the editor: Editing mode To activate this mode Description Move Vertically Click in an empty area on the upper border of the editor.
MIDI Editors Key Editor Operations NOTE • The controller lane editor is not available for Articulation or Dynamics lanes. • For velocity lanes, the editor also opens if you select multiple MIDI notes in the note display. • To switch the controller lane editor to vertical scaling mode, press [Shift] and click on any of the smart controls. • To move the whole selection up/down or left/right, click on a controller event inside the editor and drag the curve.
MIDI Editors Key Editor Operations Deleting Events in the Controller Display IIMPORTANT MPORTANT If there is more than one note at the same position, there is only one visible velocity bar. Make sure that you delete only the notes that you want to delete. • To delete events, click on them with the Erase tool or select them and press [Backspace]. You can also delete notes by deleting their velocity bars in the controller display.
MIDI Editors Basic Score Editor (Cubase Artist only) Basic Score Editor (Cubase Artist only) The basic Score Editor is available in Cubase Artist. It shows MIDI notes as a musical score. This offers basic score editing and printing. 1) Toolbar 2) Status line 3) Info line 4) Extended toolbar • To open one or several parts in the Score Editor, select one or several tracks or any number of parts, and select MIDI > Scores > Open Score Editor.
MIDI Editors Basic Score Editor (Cubase Artist only) Tool Buttons Object Selection Allows you to select events. Erase Allows you to delete events. Insert Note Allows you to insert notes in the score display. Split Allows you to split a MIDI event. Glue Allows you to glue together events of the same pitch. Insert Text Allows you to insert text in the score display. Arranger Previous Chain Step Selects the previous chain step. Next Chain Step Selects the next chain step.
MIDI Editors Basic Score Editor (Cubase Artist only) Display Transpose Display Transpose Allows you to transpose events without affecting the way that they are played back. This allows you to record and play back a multi-staff arrangement and still score each instrument according to its own transposition. Auto Scroll Auto Scroll If this button is activated, the project cursor is always visible in the window. Insert Velocity Insert Velocity Allows you to specify a velocity value for new notes.
MIDI Editors Basic Score Editor (Cubase Artist only) Move Insert Mode Activates/Deactivates the Move Insert mode. For this function, Step Input must be activated. Record Pitch If Step Input is activated, use this button to determine that the pitch is included when you insert notes. Record NoteOn Velocity If Step Input is activated, use this button to determine that NoteOn Velocity is included when you insert notes.
MIDI Editors Basic Score Editor (Cubase Artist only) To show or hide the status line, click Set up Window Layout activate or deactivate Status Line. on the toolbar, and Mouse Time Position Displays the exact time position of the mouse pointer, depending on the selected ruler display format. This lets you edit or insert notes at exact positions. Mouse Note Position Displays the exact pitch of the mouse pointer position. This facilitates finding the right pitch when entering or transposing notes.
MIDI Editors Basic Score Editor (Cubase Artist only) Enharmonic Shift Allows you to manually select whether a note is displayed with flat or sharp accidentals. The Off button resets the notes to original display. The other options are double flats, flats, No (no accidentals shown, regardless of pitch), sharps, and double sharps. RELATED LINKS Enharmonic Shift on page 740 Score Display The main area of the Score Editor window shows the notes in the edited parts on one or several staves.
MIDI Editors Score Editor Operations (Cubase Artist only) Score Editor Operations (Cubase Artist only) This section describes the principal editing operations within the Score Editor. Improving the Score Display When you open the Score Editor for a part that was recorded in real time, the score may not look as legible as you expect. The Score Editor can ignore the minor time variances in performance and make a neater score.
MIDI Editors Score Editor Operations (Cubase Artist only) • In Split mode, the part is split on the screen into a bass and treble clef, as in a piano score. The Split Point value determines where you want the split to occur. Notes above and including the split note appear on the upper staff, and notes below the split note appear on the lower staff. Before and after setting a split at C3. Display Quantize This section allows you to change the way Cubase displays scores.
MIDI Editors Score Editor Operations (Cubase Artist only) Dev. If this option is activated, triplets/straight notes are detected even if they are not exactly on the beat. However, if you know that your triplets/straight notes are perfectly recorded, either through quantizing or entered by hand, deactivate this option. This option is only available if Auto Quantize is activated.
MIDI Editors Score Editor Operations (Cubase Artist only) Interpretation Options In this section, you can make additional settings on how the score is displayed. Clean Lengths If this option is activated, notes that are considered to be chords are shown with identical lengths. Longer notes are displayed shorter than they are. Notes with very short overlaps are also cut off. This is similar to the No Overlap option, but with a more subtle effect.
MIDI Editors Score Editor Operations (Cubase Artist only) With the quantize value set to 1/8, you can only input notes at eighth note positions. You can also use the Quantize Panel to create other quantize values, irregular grids, etc. Creating Notes In the score display, the Insert Note tool allows you to create notes. However, you must first set the note value (length) and spacing. PROCEDURE 1. 2. Set the note value in one of the following ways: • Click the note symbols on the extended toolbar.
MIDI Editors Score Editor Operations (Cubase Artist only) Moving and Transposing Notes PROCEDURE 1. Open the Quantize Presets pop-up menu on the toolbar and select a quantize value. 2. If you want to hear the pitch of the note while moving, activate the Acoustic Feedback button on the toolbar. 3. Select the notes that you want to move. 4. Click one of the selected notes and drag it to a new position and/or pitch. The horizontal movement of the note is snaps to the current quantize value.
MIDI Editors Score Editor Operations (Cubase Artist only) Splitting and Gluing Note Events • To split 2 notes that are strung together by a tie, click on the tied note head with the Cut tool. The note is divided into two, with the respective length of the main and the tied note. • To glue a note to the next note with the same pitch, click on a note with the Glue tool. Enharmonic Shift You can shift the display of selected notes.
MIDI Editors Score Editor Operations (Cubase Artist only) Adding Text PROCEDURE 1. On the toolbar, select the Text tool. 2. Click anywhere in the score. A blinking cursor indicates that you can enter text. 3. Enter the text and press [Return]. • To edit existing text, double-click it with the Object Selection tool. Editing Text This opens the text for editing. Use the arrow keys to move the cursor, delete characters with the [Delete] or [Backspace] keys, press [Return] when your are finished.
MIDI Editors Score Editor Operations (Cubase Artist only) Set Font Dialog In this dialog, you can change the font, size, and style of the text that you have added to the score display. To open the Set Font dialog, select MIDI > Scores > Set Font. Font Allows you to specify the font for the text. Which fonts are available on the pop-up menu depends on the fonts that you have installed on your computer. IMPORTANT Do not use the Steinberg fonts.
MIDI Editors Drum Editor Drum Editor The Drum Editor is similar to the Key Editor, but takes advantage of the fact that with drum parts, each key corresponds to a separate drum sound. This is the editor to use when you are editing drum or percussion parts. 1) Toolbar Contains tools and settings. 2) Status line Informs about the mouse time position, mouse note position, and current chord display. 3) Info line Displays note event information about a selected MIDI note.
MIDI Editors Drum Editor 7) Ruler Displays the time line. 8) Note display Contains a grid in which MIDI notes are displayed as boxes. 9) Controller display The area below the Note display consists of one or multiple controller lanes. Toolbar The toolbar contains tools and various settings for the Drum Editor. • To show or hide the toolbar elements, right-click the toolbar and activate or deactivate the elements.
MIDI Editors Drum Editor Line Allows you to create a series of contiguous events. Time Warp Allows you to adjust the tempo track so that material with a musical time base can be matched to material with a linear time base. Auto Scroll Auto Scroll If this button is activated, the project cursor is always visible in the window. Independent Track Loop Independent Track Loop Activates/Deactivates the independent track loop for the edited part.
MIDI Editors Drum Editor Nudge Palette Trim Start Left Increases the length of the selected element by moving its start to the left. Trim Start Right Decreases the length of the selected element by moving its start to the right. Move Left Moves the selected element to the left. Move Right Moves the selected element to the right. Trim End Left Decreases the length of the selected element by moving its end to the left.
MIDI Editors Drum Editor Grid If this option is activated, the snap positions are set with the Grid Type pop-up menu. The available options depend on the display format selected for the ruler. Grid Relative If this option is activated, events keep their relative positions to the grid when they are moved. Events If this option is activated, the start and end positions of other events and parts are magnetic.
MIDI Editors Drum Editor Step/MIDI Input Step Input Activates/Deactivates the Step Input mode. MIDI Input/Note Expression MIDI Input Activates/Deactivates MIDI Input modes. Move Insert Mode Activates/Deactivates the Move Insert mode. For this function, Step Input must be activated. Record Pitch If Step Input is activated, use this button to determine that the pitch is included when you insert notes.
MIDI Editors Drum Editor Mouse Time Position Displays the exact time position of the mouse pointer, depending on the selected ruler display format. This lets you edit or insert notes at exact positions. Mouse Note Position Displays the exact pitch of the mouse pointer position. This facilitates finding the right pitch when entering or transposing notes. Independent Track Loop A mini-cycle, affecting only the MIDI part that is being edited.
MIDI Editors Drum Editor Quantize Allows you to access the main quantize parameters. These are identical with the functions on the Quantize Panel. Length Contains length-related options, similar to the Functions submenu of the MIDI menu. • To change the length of the selected MIDI events or all events of the active part if no events are selected, use the Scale Length/Legato slider. At the maximum value the notes reach the beginning of the next note.
MIDI Editors Drum Editor Controller Display The area at the bottom of the Drum Editor window is the controller display. It consists of one or several controller lanes that show one of the following properties or event types: • Velocity values of the notes • Pitchbend events • Aftertouch events • Poly Pressure events • Program Change events • System Exclusive events • Any type of continuous controller event Velocity values are shown as vertical bars in the controller display.
MIDI Editors Drum Editor NOTE Unlike note events, controller events have no length. The value of a controller event in the display is valid until the beginning of the next controller event. Drum Sound List The drum sound list lists all drum sounds by name and lets you adjust and manipulate the drum sound setup in various ways. NOTE The number of columns in the list depends on whether a drum map is selected for the track or not. Pitch Actual note number of the drum sound.
MIDI Editors Drum Editor Operations Output MIDI output on which, the drum sound is played back. If you set this to Default, the MIDI output selected for the track is used. RELATED LINKS Muting Notes and Drum Sounds on page 754 Drum Map and Names Menus Below the drum sound list are two pop-up menus that are used for selecting a drum map for the edited track or, if no drum map is selected, a list of drum sound names.
MIDI Editors Drum Editor Operations Moving and Transposing Note Events There are several options to move and transpose note events. • To move note events in the editor, select the Object Selection tool and drag them to a new position. All selected note events are moved, maintaining their relative positions. Snap is taken into account. • To allow only horizontal and vertical movement, hold down [Ctrl]/[Command] while dragging.
MIDI Editors Drum Editor Operations • If a drum map is selected, the drum sound list has a Mute column. Click in the Mute column for a drum sound to mute that sound. • To mute all drum sounds other than the selected one, click the Solo Instrument button on the toolbar. RELATED LINKS Selecting a Drum Map for a Track on page 758 Drum Maps A drum kit in a MIDI instrument is most often a set of different drum sounds with each sound placed on a separate key.
MIDI Editors Drum Editor Operations Drum Map Setup Dialog This dialog allows you to load, create, modify, and save drum maps. To open the Drum Map Setup dialog, select Drum Map Setup from the Map pop-up menu or the MIDI menu. The list on the left shows the currently loaded drum maps. The sounds and settings of the selected drum map are displayed on the right. NOTE The settings for the drum sounds are the same as in the Drum Editor.
MIDI Editors Drum Editor Operations The Functions pop-up menu contains the following options: New Map Adds a new drum map to the project. The drum sounds are named “Sound 1, Sound 2, etc.” and have all parameters set to default values. The map is named “Empty Map”. To rename the drum map, click the name in the list and type in a new name. New Copy Adds a copy of the currently selected drum map to create a new drum map.
MIDI Editors Drum Editor Operations You can change all drum map settings except the pitch directly in the drum sound list or in the Drum Map Setup dialog. These changes affect all tracks that use the drum map. RELATED LINKS Drum Sound List on page 752 Drum Map Setup Dialog on page 756 Channel and Output Settings You can set separate MIDI channels and/or MIDI outputs for each sound in a drum map.
MIDI Editors Drum Editor Operations About I-Notes, O-Notes and Pitches Going through the following theory helps you make the most out of the drum map concept – especially if you want to create your own drum maps. A drum map is a kind of filter that transforms notes according to the settings in the map. It does this transformation twice; once when it receives an incoming note that is when you play a note on your MIDI controller, and once when a note is sent from the program to the MIDI sound device.
MIDI Editors Drum Editor Operations Setting Pitches of Notes According to their O-Note Settings You can set the pitch of notes according to their O-note settings. This is useful if you want to convert a track to a regular MIDI track with no drum map and still have the notes play back the correct drum sound. It’s a typical use case to export your MIDI recording as a standard MIDI file.
MIDI Editors List Editor List Editor The List Editor shows all events in the selected MIDI parts as a list, allowing you to view and edit their properties numerically. It also allows you to edit SysEx messages. 1) Toolbar 2) Status line 3) Event list 4) Filters bar 5) Ruler 6) Event display 7) Value display Toolbar The toolbar contains tools and various settings for the List Editor. • To show or hide the toolbar elements, right-click the toolbar and activate or deactivate the elements.
MIDI Editors List Editor Erase Allows you to delete events. Zoom Allows you to zoom in/out. Hold [Alt]/[Option] and click to zoom out. Mute Allows you to mute events. Trim Allows you to resize selected events by moving their start or end positions in steps according to the Length Quantize value. Auto Scroll Auto Scroll If this button is activated, the project cursor is always visible in the window.
MIDI Editors List Editor Nudge Palette Trim Start Left Increases the length of the selected element by moving its start to the left. Trim Start Right Decreases the length of the selected element by moving its start to the right. Move Left Moves the selected element to the left. Move Right Moves the selected element to the right. Trim End Left Decreases the length of the selected element by moving its end to the left.
MIDI Editors List Editor Events + Cursor This is a combination of Events and Magnetic Cursor. Grid + Events + Cursor This is a combination of Events, Grid, and Magnetic Cursor. Iterative Quantize On/Off Activates/Deactivates iterative quantize. Quantize Presets Allows you to select a quantize or a groove preset. Apply Quantize Applies the quantize settings. Open Quantize Panel Opens the Quantize Panel. Length Quantize Determines the event length for the Length Quantize function.
MIDI Editors List Editor Edit VST Instrument Edit VST Instrument If the track is routed to a VST instrument, use this button to open the VST Instrument panel. RELATED LINKS Using the Setup options on page 1032 Status Line The status line is displayed below the toolbar. It displays important information about the mouse position. To show or hide the info line, click Set up Window Layout activate or deactivate Status Line.
MIDI Editors List Editor Event Types Only events of the same event type as the selected type will be shown. This is the same as activating event types in the Hide section. Event Types and Data 1 Only events of the same event type as the selected type and with the same Data 1 value are shown. For example, if a note event is selected, only notes with the same pitch are shown. If a controller event is selected, only controllers of the same type are shown.
MIDI Editors List Editor Start Starting position of the event, displayed in the format selected for the ruler. Changing it has the same effect as moving the event. NOTE If you move the event past any other event in the list, the list is resorted. The list always shows the events in the order in which they are played back. End Allows you to view and edit the end position of a note event. Editing resites the note event. Length Displays the length of the note event.
MIDI Editors List Editor Operations Value Display The value display to the right of the event display is a tool for quick viewing and editing of multiple values, for example, velocities or controller amounts. The values are shown as horizontal bars, with the bar length corresponding to the value. To show or hide the value display, click Set up Window Layout and activate or deactivate Value Display. on the toolbar, The value that is displayed for an event depends on the event type.
MIDI Editors List Editor Operations • To change the event type that you want to draw, select it from the Insert Event Type pop-up menu. • To draw an event, click in the event display. The note event gets the length that is set on the Length Quantize pop-up menu. Notes get the insert velocity value set in the Insert Velocity field on the toolbar. • To draw longer note events, click and drag in the event display. The length of the event is a multiple of the Length Quantize value.
MIDI Editors List Editor Operations • To set the values of all selected events to the same value, press [Ctrl]/[Command] and edit the value for one event. • For SysEx events, you can only edit the Start position in the list. However, when you click the Comment column, the MIDI SysEx Editor opens, in which you can perform detailed editing of system exclusive events.
MIDI Editors In-Place Editor In-Place Editor The In-Place Editor allows you to edit MIDI notes and controllers directly in the Project window, for quick and efficient editing in context with other tracks. The In-Place Editor expands the MIDI track to show a miniature Key Editor. When you select a MIDI note, the Project window info line shows the same information about the note, as the info line in the Key Editor. You can perform the same editing here as in the Key Editor.
MIDI Editors In-Place Editor Multiple Part Controls Edit Active Part Only If this button is activated, editing operations are applied only to the active part. Currently Edited Part This pop-up menu lists all parts that are currently open in the editor. This allows you to select a part for editing. Insert Velocity Insert Velocity Allows you to specify a velocity value for new notes.
MIDI Editors SysEx Messages • To add or remove controller lanes, right-click below the controller name field and select an option from the context menu. • To close the In-Place Editor for one track, click Edit In-Place in the track list or double-click below the controller display in the In-Place Editor. • To open/close the In-Place Editor for one or several selected tracks, use the Edit In-Place key command. • You can drag notes from one In-Place Editor to another.
MIDI Editors SysEx Messages Recording a Bulk Dump IIMPORTANT MPORTANT If your MIDI instrument does not offer a way to initiate a dump, you have to send a Dump Request message from Cubase to start the dump. In that case, use the MIDI SysEx Editor to insert the specific Dump Request message (see the instrument’s documentation) at the beginning of a MIDI track. When you activate recording, the Dump Request message is played back (sent to the instrument), the dump starts and is recorded. PROCEDURE 1.
MIDI Editors SysEx Messages About Recording and Transmitting Bulk Dumps • Do not transmit more data than you need. If all you want is a single program, do not send all. Otherwise, it could get too difficult to find the recognized program. Usually, you can specify exactly which data you want to send. • If you want the sequencer to dump the pertinent sounds to your instrument whenever you load a project, put the SysEx data in a silent count-in before the project itself starts.
MIDI Editors SysEx Messages MIDI SysEx Editor While SysEx events are displayed in the List Editor/Project Browser (Cubase Pro only), it is not their entire content, that is displayed. Only the beginning of the message is displayed in the Comment column for the event. The event is not editable. You can only move the event, the same way you would move it in the List Editor. • To open the MIDI SysEx Editor for a SysEx event, click in the Comments column for the event in the List Editor/Project Browser.
MIDI Editors SysEx Messages Editing Byte Values You can edit the selected byte value in the main display of the MIDI SysEx Editor, or in the ASCII, decimal, and binary displays. • To edit the selected value, open the MIDI SysEx Editor, click on a byte, and type in the value. Importing and Exporting SysEx Data You can import SysEx data from disk and export the edited data to a file. The file has to be in MIDI SysEx (.syx) binary format. Only the first dump in a SYX file will be loaded.
Expression maps (Cubase Pro only) Introduction About articulations Musical articulations, or expressions, define how certain notes “sound”, i. e. how they are sung or performed on a given instrument. They allow you to specify that a string instrument is bowed (not plucked), a trumpet muted (not played open), and so on. Articulations also define the relative volume of notes (to play some notes louder or softer than the others) or changes in pitch (create a tremolo).
Expression maps (Cubase Pro only) Introduction To trigger the necessary sound changes, use the following command and data types: Program Change Program Change messages can be used to instruct a connected VST instrument to switch from one program to another. Depending on the instrument, this can be used to play a different articulation. MIDI channel Multi-timbral instruments, such as Steinberg’s HALion, feature programs, usually representing different articulations.
Expression maps (Cubase Pro only) Using expression maps • When you want to play/record music in realtime and control articulation changes while playing. • When you open and edit projects from other users. By using expression maps, you can map the articulation information to a different instrument set or content library quickly and easily. NOTE You can also use the Note Expression functions to add articulations directly on your MIDI notes in the Key Editor.
Expression maps (Cubase Pro only) Using expression maps Expression maps that were saved separately You can also define your own expression maps. To load these, proceed as follows: PROCEDURE 1. In the Inspector for the selected track, select the Expression Map section, open the pop-up menu and select “Expression Map Setup…”. The Expression Map Setup window opens.
Expression maps (Cubase Pro only) Using expression maps The possibility to monitor the active slots is especially useful when recording articulations with an external device, such as a MIDI keyboard. This way, you can see whether the correct sound slot, i. e. the right articulation, is used. Expression maps in the Score Editor In the Score Editor, the articulations that are part of an expression map can be inserted like other symbols.
Expression maps (Cubase Pro only) Using expression maps You can insert and edit articulations in the Key, Drum, and In-Place Editors using the controller lane. This is much like regular controller lane editing. • To display the articulations set up in the selected expression map, open the pop-up menu to the left of the lane and select “Articulations/Dynamics”.
Expression maps (Cubase Pro only) Using expression maps • To remove a direction, click on it with the Erase tool or select it and press [Delete] or [Backspace]. • To remove an attribute, click on it with the Draw tool. Note that you cannot select attributes in the controller lane without automatically selecting the corresponding note, too. Therefore, you cannot delete an attribute by selecting it and pressing [Delete] or [Backspace] without deleting the note as well.
Expression maps (Cubase Pro only) Creating and editing expression maps Directions can be shown either as Text or as Graphic Symbols (like in the Score Editor). Either way, they are followed by the text “VST Expression” in brackets, so as to be easily recognizable and distinguishable from ordinary Score symbols. Creating and editing expression maps Creating an expression map from scratch PROCEDURE 1.
Expression maps (Cubase Pro only) Creating and editing expression maps Creating expression maps based on the key switches used in an instrument You can automatically extract mapping information from your connected VST instruments and convert it into a new expression map. This makes it very easy to set up expression maps for the instruments you often work with. PROCEDURE 1. Load the VST instrument you want to use and assign it to a MIDI or instrument track. 2.
Expression maps (Cubase Pro only) Creating and editing expression maps 2. Click in the first Articulation column (Art. 1) for the sound slot and select an articulation from the menu. A new entry is added in the Articulations section in the lower right corner of the window. 3. When adding articulations, the name of the sound slot is automatically set to the articulation. To change the name, click in the name field and enter a new name.
Expression maps (Cubase Pro only) Creating and editing expression maps You can make the following settings for the slots: In the Status column, you can specify a note-on, program change, or controller message. Additionally, you can make settings in the Data 1 and 2 columns (if applicable). If you have an instrument that uses key switches (for example Steinberg’s HALion Symphonic Orchestra), you can specify these key switches here.
Expression maps (Cubase Pro only) Creating and editing expression maps Type In this column you specify whether you want to add an “Attribute” (which only influences a single note, e. g. an accent) or a “Direction” (which is valid from the insertion position until it is replaced by another articulation, e. g. arco and pizzicato). Description Here, you can enter a descriptive text. For example, this can be the name of the symbol (e. g. Accent) or the long name of a direction (e. g. pizz and pizzicato).
Expression maps (Cubase Pro only) Creating and editing expression maps Latch Mode This setting determines whether the remote key function reacts to note-off messages. • When Latch Mode is deactivated, the key you press on your MIDI input device is valid for as long as the key is held, i. e. the sound slot plays until the key is released. On release, the default (first) sound slot is played again. • When Latch Mode is activated, the key you press is valid until the next key is pressed.
Expression maps (Cubase Pro only) Creating and editing expression maps Saving your settings When you have made the desired settings, you need to save the expression map. To do so, click the Save button in the Expression Maps section of the window, specify a file name and a location for the expression map, and click Save.
Note Expression Introduction Note Expression offers a very intuitive way of controller editing in Cubase. As an alternative to working with controller lanes in the Key Editor, controller data can be viewed and edited directly on the associated MIDI note events in the event display. With Note Expression, a note and its associated controller data are treated as a unit. When you quantize, move, copy, duplicate, or delete notes, all their associated controller information will follow.
Note Expression Introduction VST 3 controllers VST 3 controllers are provided by the VST instrument. Therefore, different controllers can be available, depending on the instrument. VST 3 controllers provide articulation information for each individual note. Unlike MIDI controllers (which are channel-specific), VST 3 controllers are note-specific and are suitable for polyphonic contexts. Articulating each note in a chord individually creates a much more natural feel.
Note Expression Setting up the Note Expression Inspector tab • If you want to listen to your editing, activate the Acoustic Feedback button on the Key Editor toolbar. Playback is triggered when you enter or change Note Expression data. All controllers that are present at the mouse position will be used during playback. Note Expression can be used in the following ways: • You can record notes live into Cubase while attaching some or all of the used controllers as Note Expression events to the notes.
Note Expression Setting up the Note Expression Inspector tab 1) In the CC column, the controller assignment is shown, if any. 2) VST 3 controllers 3) MIDI controllers 4) Settings for the selected controller 5) Global settings In the middle section of the tab, you can make settings for the parameter that is selected in the list.
Note Expression Setting up the Note Expression Inspector tab In the lower part of the Note Expression tab, the following global settings and parameters are available: MIDI as Note Expression If this button is activated, incoming MIDI controllers will be recorded as Note Expression data. Channel Rotation If this option is activated, individual MIDI channels are assigned to incoming MIDI notes and their controllers.
Note Expression Mapping controllers Filtering the list If you click on the Parameter column header, a pop-up menu opens, containing the following filter commands: Show only used Parameters Select this command to only display the parameters in the list for which data exists. Make all Parameters visible Select this command to display all available parameters in the event display. Make only edited Parameter visible Select this command to display only the currently edited parameter in the event display.
Note Expression Mapping controllers The VST 3 parameter Tuning is automatically assigned to the pitchbend wheel of your MIDI controller. All other parameters are assigned by default to the first MIDI controller (CC1: Modulation). To manually specify the record mapping for the parameters, use the MIDI Learn function, or load a mapping preset, see below.
Note Expression Recording Using mapping presets When you have set up the mapping for a connected MIDI device, you can save these settings as mapping presets for future use, e. g. when working again with this device. PROCEDURE 1. Open the Parameter pop-up menu and select “Save MIDI Input Assignment”. 2. In the file dialog that appears, specify a name and a location for the file. A file with the extension “*.neinput” is created.
Note Expression Recording Channel Rotation Some input controller can assign individual MIDI channels to incoming MIDI notes and their controllers. Each new MIDI note event gets its own internal MIDI channel and all controller that belong to this note event are created with the same MIDI channel. This allows a 16 voice polyphony, which is sufficient for most performances. The Channel Rotation mode allows a correct mapping of these data as Note Expression data per note event.
Note Expression Recording When you now start overdubbing, the values for all these controls are attached to the notes that are passed during overdub recording, replacing any existing controller data of the same type. 1) Reset Latch Buffer 2) Click here to activate Latch mode RELATED LINKS Mapping controllers on page 797 Resetting the Latch buffer Whenever data is present in the Latch buffer, the “Reset Latch buffer” button becomes available.
Note Expression Editing Note Expression data Recording the sustain pedal When the sustain pedal (MIDI CC 64) of the connected MIDI device is held during recording, the following applies for VST 3 parameters (not for continuous MIDI controllers): • When a note-off event is received (when the key on the connected keyboard is released), this message is not sent to the VST 3 instrument but is instead created by the program when the sustain pedal is released.
Note Expression Editing Note Expression data To make settings in the editor, first select the parameter that you want to make settings for. How to do this depends on whether you want to modify existing data or enter new data from scratch: • If you want to enter new data from scratch, i. e. create events for a parameter that has not been used yet, you have to select this parameter in the Inspector to make it available in the editor.
Note Expression Editing Note Expression data RELATED LINKS Adding Events in the Controller Display on page 718 Editing Events in the Controller Display on page 718 Using Cut, Copy, and Paste • To cut, copy, and paste Note Expression data for a single parameter in the editor, use the corresponding commands on the Edit menu. It is also possible to copy and paste data between different parameters.
Note Expression Editing Note Expression data Moving Note Expression data • To move all or the selected data of the active parameter, click with the Object Selection tool in the editor (not in the stretch area at the bottom of the window) and drag. You can restrict the direction to vertical or horizontal by pressing [Ctrl]/[Command] while dragging. When you hold down [Alt]/[Option] while dragging, the data is copied instead. Fixed values • To enter or edit a fixed value (i. e.
Note Expression Editing Note Expression data Modifying the data using the smart controls The editor offers various modes for editing the Note Expression data. Most editing modes are activated by clicking the various smart controls, situated on the editor frame. 1) Smart controls Which editing is performed is reflected by the shape of the mouse pointer.
Note Expression Editing Note Expression data Editing mode To activate this mode… Description Scale Around Absolute Center Click the smart control in the This mode allows you to scale middle of the right border of the curve around the absolute the editor. center, i. e. horizontally around the center of the editor. This is useful for parameters which contain a center value or position, such as Pitchbend or panorama.
Note Expression Note Expression and MIDI Setting the length of the release phase To determine the length of the release phase, drag the release length handle or enter the value manually on the info line. You can also modify the release length after having edited or recorded controller data. Only the controllers within the specified length will be heard during playback.
Note Expression Note Expression and MIDI Note Expression MIDI Setup Dialog The dialog contains the following options: Controller Activate this option if you want to use MIDI controllers when working with Note Expression. In the table below, activate the MIDI controllers you want to use and deactivate the MIDI controllers that should be disregarded in the Note Expression context. If MIDI controller data for a deactivated controller is received in Cubase, it will end up on the controller lane.
Note Expression Note Expression and MIDI Poly Pressure Activate this option if you want Poly Pressure data to be used when working with Note Expression. Controller Catch Range This allows you to associate controllers with a note, although they were sent slightly before the note-on message. Specify the number of ticks in the value field. For example, this might be necessary when working with some electronic drums for which the drum head position message is sent before the note.
Note Expression Note Expression and MIDI 3. On the MIDI menu, open the Note Expression submenu and select “Convert to Note Expression”. The MIDI data of the types you specified in the Note Expression MIDI Setup dialog is converted from controller lane data into Note Expression data, leaving the corresponding controller lanes empty.
Note Expression Note Expression and MIDI Distributing notes to different channels If you do not have a VST 3 instrument, but still want to use the Note Expression functions, proceed as follows: PROCEDURE 1. Add a multi-timbral instrument, open its control panel, and assign the same sound to different channels. 2. In the Inspector for the corresponding MIDI track, make sure the MIDI output pop-up menu is set to “Any”. 3.
Note Expression HALion Sonic SE HALion Sonic SE HALion Sonic SE is a VST 3-compatible VST instrument. For use with Note Expression, it offers the VST 3 parameters “Tuning” (Pitch), “Volume”, and “Pan”. HALion Sonic SE comes with several presets (with the file name extension “*.NoteExp”) that can be used with Note Expression. Use them to get a quick overview of the possibilities HALion Sonic SE offers when working with Note Expression.
Chord Functions The chord functions provide you with many possibilities for working with chords. The chord functions allow you to: • Build chord progressions by adding chord events to the chord track. • Convert chord events to MIDI. • Use the chord track to control audio playback (Cubase Pro only) or MIDI playback. • Use the chord track voicing to change the pitches of your MIDI. • Extract chord events from MIDI data to get an overview of the harmonic structure of a MIDI file.
Chord Functions Chord Events Adding the Chord Track PROCEDURE • Select Project > Add Track > Chord. RESULT The chord track is added to your project. Chord Events Chord events are representations of chords that control or transpose playback on MIDI, instrument, and audio tracks (Cubase Pro only). Chord events alter the pitches of MIDI notes and VariAudio segments (Cubase Pro only), if their tracks are set up to follow the chord track. Chord events have a specific start position.
Chord Functions Chord Events Chord Editor The Chord Editor allows you to define or change chord events, and to add new chord events. • To open the Chord Editor, double-click a chord event. 1) Go to Previous/Next Chord Allow you to select the previous/next chord on the chord track for editing. 2) Add Chord Adds a new undefined chord event on the chord track. NOTE This works only if the last chord event on the chord track is selected.
Chord Functions Chord Events Adding Chord Events PREREQUISITE Add the chord track. PROCEDURE 1. Select the Draw tool and click in the chord track. An undefined chord event named X is added. 2. Select the Object Selection tool and double-click the chord event. 3. In the Editor, select a root note. 4. Optional: Select a chord type, tension, and bass note. 5. Do one of the following: • To close the Editor, click anywhere outside the Editor. • To add a new undefined chord event, click Add Chord.
Chord Functions Chord Events Chord Assistant The Chord Assistant allows you to use a chord as a starting point to get suggestions for the next chord. • To open the Chord Assistant, in the Chord Editor, click Chord Assistant.
Chord Functions Chord Events Chord Assistant – List (Cubase Pro only) The List mode of the Chord Assistant allows you to create harmonic chord progressions based on harmonic rules that can be more or less complex. 1) Go to Previous/Next Chord Allow you to select the previous/next chord on the chord track for editing. 2) Add Chord Adds a new undefined chord event on the chord track. NOTE This works only if the last chord event on the chord track is selected.
Chord Functions Chord Events 6) Algorithm Mode Select Cadence to build up a chord progression based on cadences. Select Common Notes to build up a progression by specifying how many common notes the chords should share. 7) Cadence Type NOTE This option is only available, if you selected Cadence as Algorithm Mode. Allows you to select a cadence type for the suggestions. This way, only the chords with specific harmonic functions are suggested.
Chord Functions Chord Events • The Proximity mode underlies the same rules as the List mode. Adding Chord Events Based on Suggestions If you do not know what your chord progression should look like, you can use the Chord Assistant to get suggestions for the following chords. PREREQUISITE Add a chord event on the chord track. PROCEDURE 1. Double-click the chord event 2. Click Chord Assistant. 3. Click Add Chord. 4. Do one of the following: 5.
Chord Functions Chord Events RESULT The suggested chord is added as chord event to the chord track. Repeat the steps above to create as many chord events as required by your harmonic structure. Chord Assistant – Circle of Fifths The Circle of Fifths mode of the Chord Assistant shows the chords in an interactive visualization of the circle of fifths. The origin chord that defines the current key is shown in the center of the Chord Assistant and is marked as tonic (I).
Chord Functions Chord Events Auditioning Chord Events To hear the chord events on the chord track, you must connect the chord track to the output of an instrument or a MIDI track. PREREQUISITE Add the chord track and some chord events. PROCEDURE 1. Do one of the following: • To add an instrument track, select Project > Add Track > Instrument. • To add a MIDI track, select Project > Add Track > MIDI. 2. Assign a VST instrument to your instrument or MIDI track and select a sound. 3.
Chord Functions Scale Events Scale Events Scale events inform you which chord events fit in a specific sequence of notes that belong to a specific root note. Cubase automatically creates scale events for your chord events. • To show the scale events, activate Show Scales on the chord track. • To audition the notes that belong to a scale event, click it. However, you can also add and edit scale events manually. Scale events have a specific start position.
Chord Functions Voicings Voicings Voicings determine how chord events are set up. They define the vertical spacing and order of the pitches in a chord, but also the instrumentation and genre of a musical piece. For example, a C chord can be spread over a wide range of pitches, and a pianist will choose different notes than a guitarist. The pianist may also play completely different pitches for different musical genres. • You can set up voicing for the entire chord track in the chord track Inspector.
Chord Functions Voicings 4) Adaptive Voicings Activate this to let Cubase set the voicings automatically. This prevents the individual voices from jumping too much. 5) Automatic Scales Activate this to let Cubase set the scales automatically. 6) Mapping Offset If you enter a negative number of ticks, the chord events will affect the MIDI notes that have been triggered too early.
Chord Functions Voicings In the Options section for Piano voicings, you can set up the following parameters: Add Root Note Adds a root note. Duplicate Root Duplicates the root note. Fatten up Duplicates the tenor. In the Voicing Range section for Piano voicings, you can set up the following parameters: Lowest Root Note Sets the limit for the lowest root note. Lowest Note Sets the limit for the lowest note, except the root note. Highest Note Sets the limit for the highest note, except the root note.
Chord Functions Converting Chord Events to MIDI Converting Chord Events to MIDI You can convert chord events to MIDI for further editing or for printing a lead sheet in the Score Editor. PROCEDURE 1. 2. Add an instrument track or a MIDI track. • To add an instrument track, select Project > Add Track > Instrument. • To add a MIDI track, select Project > Add Track > MIDI. Do one of the following: • To convert all chord events to MIDI, select Project > Chord Track > Chords to MIDI.
Chord Functions Controlling MIDI or Audio Playback using the Chord Track Assigning Chord Events to HALion Sonic SE Pads PREREQUISITE Create a chord progression on the chord track and add an instrument track with HALion Sonic SE as VST instrument to your project. PROCEDURE 1. On the chord track, select the chord events and drag them to the HALion Sonic SE pads. The first chord event is mapped to the pad where you dropped it, and all subsequent chord events are mapped to the following pads. 2.
Chord Functions Controlling MIDI or Audio Playback using the Chord Track Using Follow Chord Track This allows you to match an existing recording to a chord progression on the chord track. PROCEDURE 1. Select the track that you want to match to the chord track. 2. In the Inspector, click Chords. 3. Open the Follow Chord Track pop-up menu and select a mode. NOTE If this is the first time that you open this pop-up menu for the track, the Follow Chord Track dialog opens. 4.
Chord Functions Controlling MIDI or Audio Playback using the Chord Track Chords & Scales This maintains the intervals of the original chord or scale as far as possible. Chords This transposes MIDI notes to match the key note and maps them to the current chord. Scales This transposes MIDI notes to match the current scale. This allows a bigger variety of notes and a more natural performance. Root Notes This transposes MIDI notes to match the root note of the chord event.
Chord Functions Controlling MIDI or Audio Playback using the Chord Track Follow Directly Activate this if your VariAudio segments (Cubase Pro only) or MIDI notes are already in accordance with the chord track. This is the case if you extracted your chords from the MIDI events on the track by selecting Project > Chord Track > Create Chord Symbols, for example. Synchronize Track Data with Chord Track First Activate Analyze Chords if the track data has nothing in common with the chord events.
Chord Functions Assigning Voices to Notes Assigning Voices to Notes You can transpose MIDI notes to match the voices of a selected voicing library. PROCEDURE • Select Project > Chord Track > Assign Voices to Notes. RESULT The note pitches now match the voicing of the chord track and you can still edit the MIDI notes. If you now select a note in the Key Editor, you see that Voice in the info line is assigned. Extracting Chord Events from MIDI You can extract chords from MIDI notes, parts, or tracks.
Chord Functions Extracting Chord Events from MIDI 2. Select Project > Chord Track > Create Chord Symbols. The Create Chord Symbols dialog opens. 3. Make your settings and click OK. RESULT The chord events are added on the chord track. NOTE Cubase Pro only: You can now open the Chord Assistant to create variations.
Chord Functions Recording Chord Events with a MIDI Keyboard Recording Chord Events with a MIDI Keyboard You can use a MIDI keyboard to record chord events on the chord track. PREREQUISITE Your project contains an instrument track with Record Enable or Monitor activated. PROCEDURE 1. On the chord track, activate Record Enable. 2. On the Transport Panel, activate Record. 3. Play some chords on your MIDI keyboard. RESULT All recognized chords are recorded as chord events on the chord track.
Chord Pads Chord pads allow you to play with chords, and to change their voicings and tensions. In terms of harmonies and rhythms, they allow for a more playful and spontaneous approach to composition than the chord track functions. You can: • Perform with chords in realtime via a MIDI keyboard. • Record your performance as MIDI events on a MIDI or instrument track or even on the chord track. NOTE We assume that you have a MIDI keyboard connected and set up.
Chord Pads Chord Pads Zone The chord pads zone holds the following controls: 1) Close Chord Pads Zone Closes the chord pads zone. 2) Current Player Shows the current player and opens a menu where you can select another player. 3) Chord Pad Each chord pad can contain a chord symbol. To change it, click the Open Editor control on the left edge of the chord pad. 4) Keyboard Shows which keys are played when you trigger a chord pad. To zoom the keyboard, click a key and drag up or down.
Chord Pads Chord Pads Zone 10) Show/Hide Chord Assistant Shows/Hides the Chord Assistant that shows suggestions of chords that match the chord that you specified as the origin chord. 11) Show/Hide Settings Shows/Hides the chord settings, where you can configure different players, the pad layout, and the remote assignment. RELATED LINKS Chord Pad Settings – Remote Control on page 850 Players and Voicings on page 854 Chord Pad Controls The chord pad controls allow you to edit the chord pads.
Chord Pads Chord Pads Zone 5) AV (Adaptive Voicing)/L (Lock) By default, all chord pads follow the adaptive voicing. This is indicated by an AV symbol. If you change the voicing for a pad manually however, Adaptive Voicing is deactivated. An L symbol indicates that the chord pad is locked for editing. 6) Voicing Allows you to set another voicing for the chord pad. 7) Tensions Allows you to add/remove tensions for the chord.
Chord Pads Functions Menu Functions Menu • Show Voicing Indicators Allows you to activate/deactivate the voicing indicators that can be displayed at the bottom of each chord pad. • Assign Pads from Chord Track Assigns the chord events from the chord track to the chord pads in the same order as they appear on the chord track. Chord events that have more than one occurrence are only assigned once.
Chord Pads Preparations Preparations Before you can start working with the chord pads, you must add a MIDI or an instrument track with an instrument loaded, and open the chord pads zone. PREREQUISITE You have installed and set up a MIDI keyboard. PROCEDURE 1. Select Project > Add Track > Instrument. 2. In the Add Instrument Track dialog, select an instrument, and click Add Track.
Chord Pads Chord Assistant The Chord Assistant has two modes: • Chord Assistant – Proximity (Cubase Pro only) • Chord Assistant – Circle of Fifths You must define an origin chord as follows: • Right-click the chord pad with the chord you want to use as origin and select Use X as Origin for Chord Assistant. The Chord Assistant shows suggestions for follow-on chords that you can assign to the chord pads.
Chord Pads Chord Assistant RELATED LINKS Chord Assistant – List (Cubase Pro only) on page 819 Chord Assistant – Circle of Fifths Mode The Circle of Fifths mode of the Chord Assistant shows the chords in an interactive visualization of the circle of fifths. The origin chord that defines the current key is shown in the center of the Chord Assistant. The tonic (I) of that key is displayed above the center. The outer circle shows the twelve major chords ordered in intervals of fifths.
Chord Pads Assigning Chords to Chord Pads Assigning Chords to Chord Pads Some chords are preassigned to the chord pads. But you can also assign your own chords. To assign chords to chord pads, you can use: • The chord Editor • The Chord Assistant – Proximity (Cubase Pro only) • The Chord Assistant – Circle of Fifths • Your MIDI keyboard • The chord events from the chord track You can overwrite the preassigned chords, or clear all chord pads first to start from scratch.
Chord Pads Assigning Chords to Chord Pads Assigning Chords with the Chord Assistant – Proximity Mode (Cubase Pro only) If you have a chord that you want to use as a starting point to find follow-on chords, you can use the Chord Assistant – Proximity mode. PROCEDURE 1. Right-click the chord pad that you want to use as a starting point and activate Use x as Origin for Chord Assistant.
Chord Pads Assigning Chords to Chord Pads Assigning Chords with the Chord Assistant – Circle of Fifths Mode If you have a chord that you want to use as a starting point for a chord progression, but you do not know how to create such a progression, you can use the Chord Assistant – Circle of Fifths. PROCEDURE 1. Right-click the chord pad that you want to use as a starting point and activate Use x as Origin for Chord Assistant.
Chord Pads Assigning Chords to Chord Pads Assigning Chords with the MIDI Keyboard If you know which chord you want to assign to a specific chord pad, you can use a MIDI keyboard. PREREQUISITE You have selected a MIDI track or an instrument track. PROCEDURE 1. Right-click the chord pad that you want to use for the new chord, and select Assign Pad from MIDI Input. The borders of the chord pad change their color to indicate that it is now ready for recording. 2.
Chord Pads Moving and Copying Chord Pads Moving and Copying Chord Pads You can swap the chord assignments between 2 pads or copy a specific chord and its settings from one pad to another. • To swap the chord pad assignment between 2 pads, click a chord pad and drag it to another chord pad. While you drag, the border of the destination chord pad changes its color. When you drop the pad on another, the chord assignments are swapped.
Chord Pads Playing Back and Recording Chords Recording Chords on MIDI or Instrument Tracks You can record the chords that are triggered through the chord pads on MIDI or instrument tracks. This way, you can play back and edit your performance at any time. PREREQUISITE You have connected and set up a MIDI keyboard, you have opened and set up the chord pads zone, and you have added an instrument or a MIDI track for which a VST instrument is loaded to your project. PROCEDURE 1.
Chord Pads Chord Pad Settings – Remote Control 5. On your MIDI keyboard, press the keys that trigger the chord pads. NOTE Use the keys that are not assigned to play and record other chords. RESULT The chord events are recorded on the chord track. NOTE The recorded chord events may sound different from the chord pad playback. This is because the voicing settings for the chord track differ from the chord pad voicings.
Chord Pads Chord Pad Settings – Remote Control 4) MIDI Learn Activates/Deactivates the MIDI Learn function to assign MIDI input to the Pads Remote Range and to the parameters Voicings, Tensions, and Transpose. 5) Activate Activates/Deactivates the remote key assignment for the parameters Voicings, Tensions, and Transpose. If this is deactivated, only the remote key assignment for the Pads Remote Range is active.
Chord Pads Chord Pad Settings – Remote Control Action Description Remote Note Voicings: Next Plays back the next voicing of the C#2 last played chord. Voicings for all chord pads The wheel position determines the voicings for the next played chords of all chord pads. Tensions: Fewer Plays back the last played chord D2 with fewer tensions. Tensions: More Plays back the last played chord D#2 with more tensions.
Chord Pads Chord Pad Settings – Players 2. Do one of the following: • Click MIDI Learn so that the button lights up, and on your MIDI keyboard, press the two keys that you want to assign as range start and range end. • Enter a new value in the Range Start and Range End fields. RESULT On the keyboard, the indication for pads remote range is changed. Chord Pad Settings – Players On the Players tab in the chord pad Settings you can change the voicing that is used for the chord pads.
Chord Pads Chord Pad Settings – Players 5) Add Player Opens a menu where you can select the player that you want to add. From here, you can also rename or remove the current player. RELATED LINKS Players and Voicings on page 854 Voicings on page 825 Players and Voicings Different types of instruments and styles have different voicing libraries. These determine how the chords are played back, and which pitches are played. In the chord pads zone, these voicings are referred to as players.
Chord Pads Chord Pad Settings – Players Using the Pattern Player You can determine how the triggered chord is played: as a plain chord, or according to a selected pattern. The pattern player plays the notes that make up the chord one after another (arpeggio). PROCEDURE 1. Select Show/Hide Settings > Players > Pattern. 2. Perform one of the following actions: • Click Import MIDI Loop to select a MIDI loop that you want to use as a pattern.
Chord Pads Chord Pad Settings – Pad Layout 3. Click Add Track. The instrument tracks are added to your project. 4. Select Project > Chord Pads to open the chord pads zone. 5. To the left of the chord pads zone, activate Show/Hide Settings and click Players. 6. Select the first instrument track, select a sound on the VST instrument, and in the chord pads zone, select a player. For example, select a piano sound and assign a Piano Player.
Chord Pads Chord Pads Presets 1) Show/Hide Settings Opens the settings for the chord pads. 2) Keyboard Activate this to show the chord pads in a keyboard layout. You can display one or two octaves, and you can select if the first chord pad starts with C, A or E. 3) Grid Activate this to show the chord pads in a grid layout. You can display up to 4 rows and 16 columns. 4) Layout display Shows how the active chord pad layout is displayed.
Chord Pads Creating Events from Chord Pads Saving Chord Pads Presets If you have set up the chord pads, you can save them as chord pads presets. PROCEDURE 1. To the left of the chord pads zone, select Chord Pads Preset > Save Chord Pads Preset. 2. In the New Preset section, enter a name for the new preset. NOTE You can also define attributes for the preset. 3. Click OK to save the preset and exit the dialog.
The Logical Editor, Transformer, and Input Transformer Introduction Most of the time you will perform your MIDI editing graphically in one of the MIDI editors. But there are times when you want more of a “search and replace” function on MIDI data, and that’s where the Logical Editor comes in. IIMPORTANT MPORTANT The Logical Editor is only available in Cubase Pro.
The Logical Editor, Transformer, and Input Transformer Opening the Logical Editor IIMPORTANT MPORTANT Studying the included presets is an excellent way to learn the workings of the Logical Editor! Many of them can also be used as starting points when you set up your own editing operations using the Logical Editor.
The Logical Editor, Transformer, and Input Transformer Window overview • In the MIDI editors, edits using the Logical Editor are applied to all selected events. If no events are selected, all events in the edited part(s) will be affected. You can change the selection while the Logical Editor window is open. 2. Select “Logical Editor…” from the MIDI menu.
The Logical Editor, Transformer, and Input Transformer Setting up filter conditions NOTE If you have already defined filter conditions and/or applied a preset, but want to start again from scratch, you can initialize the settings by selecting the Init option from the Presets pop-up menu. You set up a filter condition line by clicking in the columns and selecting options from the pop-up menus that appear.
The Logical Editor, Transformer, and Input Transformer Setting up filter conditions bool This allows you to insert the boolean operators And/Or, when creating conditions with multiple lines. You can also set up filter conditions by dragging MIDI events directly into the upper list. If the list contains no entries, a MIDI event dragged into this section will form conditions including the state and type of the event. If it contains entries, the dragged event will initialize the matching parameters.
The Logical Editor, Transformer, and Input Transformer Setting up filter conditions Inside Bar Range (Logical Editor only) …is within the “zone” set up in the Bar Range/Time Base column (Position only), in each bar within the current selection. Outside Bar Range (Logical Editor only) …is outside the “zone” set up in the Bar Range/Time Base column (Position only), in each bar within the current selection. Before Cursor (Logical Editor only) …is before the song cursor position (Position only).
The Logical Editor, Transformer, and Input Transformer Setting up filter conditions • If you select Inside Range or Outside Range in the Condition column, you set the start position of the range in the Parameter 1 column and the end position in the Parameter 2 column. You can also change the time base using the Bar Range/Time Base column. The Logical Editor will then find all elements inside or outside this position range.
The Logical Editor, Transformer, and Input Transformer Setting up filter conditions Event type Value 1 Value 2 VST3 Event Not used. The value of the VST3 Event parameter. The value range of the VST 3 event (0.0 to 1.0) is transformed into the MIDI value range (0-127), i. e., the VST 3 event value 0.5 corresponds to 64. For some operations that require a higher resolution, you can make use of the “VST3 Value Operation” parameter.
The Logical Editor, Transformer, and Input Transformer Setting up filter conditions • Pitch values in the Parameter columns will be displayed as note names (C3, D#4, etc.). When entering pitch values you can either type a note name or a MIDI note number (0–127). • When Value 1 (pitch) is selected as Filter Target, an additional option appears in the Condition column: “Note is equal to”.
The Logical Editor, Transformer, and Input Transformer Setting up filter conditions IIMPORTANT MPORTANT As mentioned above, selecting Type = Note or Type = Controller adds some additional functionality to the Logical Editor. You should make it a habit to add a Type condition when applicable. Searching for properties On the Filter Target pop-up menu, you will find an option called Property. This allows you to search for properties that are not part of the MIDI standard but rather Cubase-specific settings.
The Logical Editor, Transformer, and Input Transformer Setting up filter conditions Here, the action will only be performed when the sustain pedal is down: Filter Target Condition Parameter 1 Parameter 2 Last Event Equal MIDI Status 176/Controller Last Event Equal Value 1 64 Last Event Bigger Value 2 64 In this example, the action will be performed when the note C1 is pressed (the “Note is playing” condition is only available in the Input Transformer and in the Transformer effect): Filter T
The Logical Editor, Transformer, and Input Transformer Setting up filter conditions Parameter 1 Searches for… Highest/Lowest/Average Velocity …notes with the highest, lowest or average velocity in the selected MIDI part. Highest/Lowest/Average CC Value …controllers with the highest, lowest or average value in the selected MIDI part. For the following values of Parameter 1 you have to specify a Parameter 2: Parameter 1 Parameter 2 Searches for… No.
The Logical Editor, Transformer, and Input Transformer Setting up filter conditions The bool column By clicking in the “bool” column to the right in the list, you can select a boolean operator: “And” or “Or”. A boolean operator combines two condition lines and determines the result in the following way: • If two condition lines are combined with a boolean And, both conditions must be fulfilled for an element to be found.
The Logical Editor, Transformer, and Input Transformer Selecting a function You add brackets by clicking in the bracket columns and selecting an option. Up to triple brackets can be selected. Selecting a function The pop-up menu at the bottom of the Logical Editor is where you select the function – the basic type of editing to be performed. Below, the available options are listed. Note that some options are not available in the Transformer effect. Delete Deletes all elements found by the Logical Editor.
The Logical Editor, Transformer, and Input Transformer Specifying actions Extract (Logical Editor only) This works like Copy, but will cut the found events instead. Or in other words, Extract will transform all found events and move them to a new part on a new MIDI track. Select (Logical Editor only) This will simply select all found events, highlighting them for further work in the regular MIDI editors.
The Logical Editor, Transformer, and Input Transformer Specifying actions Option Description Value 3 This adjusts value 3 in the events, which is used for handling of Note-off velocity when searching for properties. NoteExp Operation (Logical Editor only) Cubase Pro only: Allows you to specify a Note Expression operation in the Operation column. VST3 Value Operation (Logical Editor only) Allows you to perform common operations within the VST 3 value range (0.0 to 1.
The Logical Editor, Transformer, and Input Transformer Specifying actions Round by This “rounds” the Action Target value using the value specified in the Parameter 1 column. In other words, the Action Target value is changed to the closest value that can be divided by the Parameter 1 value. For example, if the Action Target value is 17 and Parameter 1 is 5, the result of rounding will be 15 (the closest value that can be divided by 5).
The Logical Editor, Transformer, and Input Transformer Specifying actions Use Value 1 This is only available when Action Target is set to Value 2. If this option is selected, the Value 1 setting in each event will be copied to the Value 2 setting. Mirror This is only available when Action Target is set to Value 1 or Value 2. When this option is selected, the values will be “mirrored” around the value set in the Parameter 1 column.
The Logical Editor, Transformer, and Input Transformer Applying the defined actions Cubase Pro only: NoteExp Operation – Reverse (Logical Editor only) Reverses the Note Expression data. RELATED LINKS Searching for Value 1 or Value 2 on page 865 Applying the defined actions Once you have set up filter conditions, selected a function and set the required actions (or loaded a preset), you apply the actions defined with the Logical Editor by clicking the Apply button.
The Logical Editor, Transformer, and Input Transformer The Input Transformer Storing your own settings as a preset If you have made Logical Editor settings that you want to use again, you can save them as a preset: PROCEDURE 1. Click on the Store Preset button on the right of the Preset menu. A dialog for specifying a name for the new preset is displayed. 2. Enter a name for the preset and click OK. The preset is stored. To remove a preset, load it and click on the Remove Preset button.
The Logical Editor, Transformer, and Input Transformer The Input Transformer Opening the Input Transformer To open the Input Transformer for a MIDI track, select the track and click the Input Transformer button in the Inspector to open the pop-up menu. • Select Global to make Input Transformer settings that affect all MIDI inputs (and thereby all MIDI tracks). • Select Local to make Input Transformer settings for this track only. In both cases, the button lights up and the Input Transformer opens.
The Logical Editor, Transformer, and Input Transformer The Input Transformer The Function pop-up menu The Function pop-up menu contains two options: Filter and Transform. • In Filter mode, only the filter conditions (the upper list) are taken into account. All events matching the conditions set up will be filtered out (excluded from the recording). • In Transform mode, events matching the filter conditions will be transformed according to the settings in the action list (the lower list).
Project Logical Editor (Cubase Pro only) On the Edit menu you will find the function “Project Logical Editor…”. This opens a Project Logical Editor for the entire project. It works similar to the Logical Editor on the MIDI menu. The most important difference is that the Logical Editor for MIDI works at the event level, whereas the Project Logical Editor works at the project level and is therefore a very powerful tool for “search and replace” functions in your entire project.
Project Logical Editor (Cubase Pro only) Opening the Project Logical Editor By combining filter conditions, functions, the specific actions, and additional macros, you can perform very powerful processing. IIMPORTANT MPORTANT The Project Logical Editor allows all kinds of settings that may not always make sense. Experiment a bit before applying your edits to important projects. You can undo the operations by using the Undo command on the Edit menu.
Project Logical Editor (Cubase Pro only) Setting up filter conditions 1) List of filter conditions 2) Action List 3) Function and Macro pop-up menus 4) Apply button RELATED LINKS Working with presets on page 898 Setting up filter conditions General procedure The upper list is where you set up the filter conditions, determining which elements to find. The list contains one or several conditions, each on a separate line. • To add a new condition, click the “+” button below the list.
Project Logical Editor (Cubase Pro only) Setting up filter conditions Parameter 1 Here you set which value the element properties are compared to (depending on the Filter Target). For example, if the Filter Target is “Position” and Condition is “Equal”, the Project Logical Editor will look for all elements starting at the position you specify in the Parameter 1 column. Parameter 2 This column is only used if you have selected one of the “Range” options in the Condition column.
Project Logical Editor (Cubase Pro only) Setting up filter conditions Media type filter When the Filter Target is set to Media Type, the pop-up menu lists the available media types. Audio If no container type is specified, this finds audio events, audio parts and audio tracks. MIDI If no container type is specified, this finds MIDI parts and MIDI tracks. Automation If no container type is specified, this finds automation events and automation tracks.
Project Logical Editor (Cubase Pro only) Setting up filter conditions For media types, the following options are available: Equal This finds the Media Type set up in the Parameter 1 column. All Types This finds all Media Types. Searching for Container types PROCEDURE 1. Select Container Type in the Filter Target pop-up menu. This allows you to find parts, events or tracks. 2. Open the pop-up menu in the Parameter 1 column and select the desired option. 3.
Project Logical Editor (Cubase Pro only) Setting up filter conditions All Types This finds all Container Types. Combining Media Type and Container Type The combination of the filter targets Media Type and Container Type represents a versatile tool for logical operations: Here, the Project Logical Editor will find all MIDI and instrument parts in the project. Here, the Project Logical Editor will find all automation tracks (not events) in the project whose name contains vol.
Project Logical Editor (Cubase Pro only) Setting up filter conditions For example, if you have set up the Project Logical Editor like this… …it will find all tracks in the project whose name contains “voc”. NOTE To take maximum advantage of this feature, we recommend using a standard nomenclature in your projects (Drums, Perc, Voc, etc.). Searching for elements at certain positions PROCEDURE 1. Select “Position” in the Filter Target pop-up menu.
Project Logical Editor (Cubase Pro only) Setting up filter conditions Position filter For positions, the following options are available: Equal …has the exact same value as set up in the Parameter 1 column. Unequal …has any value other than the one set up in the Parameter 1 column. Bigger …has a value higher than the one set up in the Parameter 1 column. Bigger or Equal …has a value that is the same as or higher than the one set up in the Parameter 1 column.
Project Logical Editor (Cubase Pro only) Setting up filter conditions Inside Cycle …is inside the set cycle. Exactly Matching Cycle …exactly matches the set cycle. RELATED LINKS Setting Up the Independent Track Loop on page 496 Searching for elements of certain lengths PROCEDURE 1. Select Length in the Filter Target pop-up menu. This allows you to find elements of a certain length only. The Length parameter is interpreted via the time base setting in the Bar Range/Time Base column, i. e.
Project Logical Editor (Cubase Pro only) Setting up filter conditions Less or Equal …has a value that is the same as or lower than the one set up in the Parameter 1 column. Inside Range …has a value that is between the values set up in the Parameter 1 and Parameter 2 columns. Note that Parameter 1 should be the lower value and Parameter 2 the higher. Outside Range …has a value that is not between the values set up in the Parameter 1 and Parameter 2 columns. Searching for properties PROCEDURE 1.
Project Logical Editor (Cubase Pro only) Setting up filter conditions Combining multiple condition lines As described above, you can add condition lines by clicking the “+” button below the list. The result of combining condition lines depends on the boolean And/Or operators and the brackets. The bool column By clicking in the “bool” column to the right in the list, you can select a boolean operator: “And” or “Or”.
Project Logical Editor (Cubase Pro only) Specifying actions Maybe you want to find all audio parts and events that either contain the name perc or the name drums, but no other parts or events that contain the name drums? Then you need to add some brackets: Here, all audio parts or events will be found whose name contains perc or drums. NOTE Expressions within brackets are evaluated first.
Project Logical Editor (Cubase Pro only) Specifying actions Subtract Subtracts the value specified in the Parameter 1 column from the Position. Multiply by Multiplies the Position value with the value specified in the Parameter 1 column. Divide by Divides the Position value by the value specified in the Parameter 1 column. Round by This “rounds” the Position value using the value specified in the Parameter 1 column.
Project Logical Editor (Cubase Pro only) Specifying actions Round by This “rounds” the Length value using the value specified in the Parameter 1 column. In other words, the Length value is changed to the closest value that can be divided by the Parameter 1 value. Set to fixed value This sets the Length to the value specified in the Parameter 1 column. Set Random Values between This will add a random value to the current length.
Project Logical Editor (Cubase Pro only) Selecting a function Hide Track Enables, disables or toggles the track visibility status. Name This lets you rename the found elements. Replace Replaces names with the text specified in the Parameter 1 column. Append Names will be appended with the string specified in the Parameter 1 column. Prepend The name will be prepended with the string specified in the Parameter 1 column.
Project Logical Editor (Cubase Pro only) Applying Macros The available options are: Delete Deletes all elements found by the Project Logical Editor. NOTE When you delete automation tracks and undo this operation by selecting Undo from the Edit menu, the automation tracks will be restored, but the tracks will be closed. Transform Changes one or several aspects of the found elements. You set up exactly what is changed in the action list.
Project Logical Editor (Cubase Pro only) Working with presets Project Logical Editor operations can be undone just like any other editing. Working with presets The Presets section in the upper left section of the window allows you to load, save and manage Project Logical Editor presets. A preset contains all settings in the window, which means you can simply load a preset, edit the settings (if necessary) and click Apply. • To load a preset, select it from the Presets pop-up menu.
Project Logical Editor (Cubase Pro only) Working with presets Setting up key commands for your presets If you have stored Project Logical Editor presets, you can set up key commands for them: PROCEDURE 1. Open the File menu and select “Key Commands…”. The Key Commands dialog opens. 2. Use the list in the Commands column to navigate to the category “Process Project Logical Editor” and click the “+” sign to display the items in the folder. 3.
Editing tempo and signature Background Whenever you create a new project, Cubase will automatically set the tempo and time signature for this project. The tempo and signature settings can be displayed in two ways: either on dedicated tracks in the Project window or in the Tempo Track Editor. Tempo modes Before we go into detail about tempo and signature settings, you should understand the different tempo modes.
Editing tempo and signature Tempo and signature display A note about tempo-based audio tracks For tempo-based tracks, the start position of audio events on the timeline depends on the current tempo setting. However, it is important to realize that the actual audio (“within” the events) will play back as recorded, regardless of any tempo changes you make. Therefore, it is good practice to make the proper tempo and time signature settings before you start recording tempo-based audio.
Editing tempo and signature Tempo and signature display • The Inspectors for these tracks show the positions and values of individual tempo curve points or signature events. • The signature track’s background always shows bars. This is independent of the ruler display format setting. • In the track list for the tempo track, on the far right, you can specify the display range by clicking on the numbers at the top or bottom and dragging up or down.
Editing tempo and signature Tempo and signature display The toolbar The toolbar contains various tools and settings: 1) Activate Tempo Track 2) Show Info 3) Tools 4) Auto-Scroll 5) Suspend Auto-Scroll when Editing 6) Snap on/off 7) Snap value 8) The selected tempo 9) Curve type for new tempo events 10) Tempo recording slider (Cubase Pro only) 11) Open Process Tempo dialog (Cubase Pro only) 12) Open Process Bars dialog (Cubase Pro only) • The tools for Object Selection, Erase, Zoom and D
Editing tempo and signature Editing tempo and signature Editing tempo and signature You can use the options of the Tempo Track Editor or the tempo and signature tracks to edit tempo and signature settings. The descriptions given below are valid in both cases. The only exception is the tempo recording slider, which is available only in the Tempo Track Editor.
Editing tempo and signature Editing tempo and signature You can also click on the tempo curve with the Object Selection tool. This adds a single point with each click. NOTE Tempo values can also be automatically inserted by the Beat Calculator. RELATED LINKS The Beat Calculator on page 911 Snap Function on page 62 Selecting tempo curve points Curve points can be selected as follows: • Using the Object Selection tool. The standard selection techniques apply. • Using the Select submenu of the Edit menu.
Editing tempo and signature Editing tempo and signature Editing tempo curve points Curve points can be edited in the following ways: • By clicking and dragging horizontally and/or vertically with the Object Selection tool. If several points are selected, all of them are moved. If Snap is activated on the toolbar, this determines to which time positions you can move curve points. • By adjusting the tempo value in the tempo display on the Tempo Track Editor toolbar, in the Inspector, or on the info line.
Editing tempo and signature Editing tempo and signature Removing tempo curve points To remove a curve point, either click on it with the Erase tool or select it and press [Backspace]. The first tempo curve point cannot be removed. Recording tempo changes (Cubase Pro only) The Tempo Recording slider on the toolbar of the Tempo Track Editor allows you to record tempo changes “on the fly”: simply start playback and use the slider to raise or lower the tempo at the desired positions.
Editing tempo and signature Process Tempo (Cubase Pro only) • To move a time signature event, click and drag it with the Object Selection tool. Note that you can [Shift]-click to select multiple events. Also note that time signature events can only be positioned at the start of bars. This is also true if Snap is deactivated. • To remove a time signature, either click on it with the Erase tool or select it and press [Backspace] or [Delete]. The first time signature event cannot be removed.
Editing tempo and signature The Process Bars dialog (Cubase Pro only) 3. In the Process Range fields, the specified range is shown, in Bars and Beats (PPQ) and in a time format, which can be selected from the Time Display Format pop-up menu. The range defined in step 1 will already be set, but you can edit the range by adjusting the values in the Process Range fields if you wish. Now you can either specify a new range length or a new range end time.
Editing tempo and signature The Process Bars dialog (Cubase Pro only) Bar Range – Length This is where you specify the length of the bar range. Click on the arrows to raise/lower the value or click directly in the value field to enter the value manually. Action – Insert Bars When you select this action, clicking the Process button will insert the specified number of empty bars with the set time signature at the start position specified above.
Editing tempo and signature The Beat Calculator The Beat Calculator The Beat Calculator is a tool for calculating the tempo of freely recorded audio or MIDI material. It also allows you to set the tempo by tapping. Calculating the tempo of a recording PROCEDURE 1. In the Project window, make a selection that covers an exact number of beats of the recording. 2. Select “Beat Calculator…” from the Project menu. The Beat Calculator window appears. 3.
Editing tempo and signature Merge Tempo From Tapping (Cubase Pro only) 3. Click the Tap Tempo button. The Tap Tempo window appears. 4. Tap the tempo on the Spacebar of the computer keyboard or with the mouse button. The tempo display will update the calculated tempo between each tap. 5. Click OK to close the Tap Tempo dialog. The tapped tempo is now shown in the Beat Calculator’s BPM display. You can insert it into the tempo track as described above.
Editing tempo and signature The Time Warp tool (Cubase Pro only) 7. Open the Project menu and select “Tempo Track” to check that the new tempo information is reflected in the tempo curve. NOTE Another way of creating a tempo map for freely recorded audio would be to use the Time Warp tool, see below.
Editing tempo and signature The Time Warp tool (Cubase Pro only) Dragging the start of the bar to the start of the audio event. While you are dragging, the track(s) you are editing are temporarily switched to linear time base. This means that the contents of the tracks remain at the same time positions regardless of the tempo (there is an exception to this in the Project window, see below). 4.
Editing tempo and signature The Time Warp tool (Cubase Pro only) This helps you see what’s going on, but you can also use this for editing the tempo track: • If you press the create/erase modifier key (by default [Shift]) and click on a tempo event in the ruler, it is deleted. [Shift] is the default modifier for this – you can adjust this in the Preferences dialog (Editing–Tool Modifiers page). • You can click on a tempo event in the ruler and drag to move it.
Editing tempo and signature The Time Warp tool (Cubase Pro only) Matching a musical score to video Here’s an example of how to use the Time Warp tool in “musical events follow” mode. Let’s say you are creating the music for a film. You have a video track, an audio track with a commentary and some audio and/or MIDI tracks with your music. Now you want to match the position of a musical cue to a position in a video film. The musical cue is located in bar 33. There are no tempo changes in the project (yet).
Editing tempo and signature The Time Warp tool (Cubase Pro only) 7. Click in the event display at the start of bar 33 and drag to the desired position in the video. As mentioned above, this can mean dragging to a position indicated by the thumbnails on the video track, to a marker on the marker track or to a time position on an additional ruler track (Cubase Pro only). When you drag, the ruler is scaled – and the music tracks will follow. 8. Release the mouse button.
Editing tempo and signature The Time Warp tool (Cubase Pro only) About snapping If Snap is activated in the Project window and “Events” is selected on the Snap Type pop-up menu, the Time Warp tool will be magnetic to events when you drag the tempo grid. This makes it easier to snap a tempo position to a marker, the start or end of an audio event, etc.
Editing tempo and signature The Time Warp tool (Cubase Pro only) 5. Press [Shift] and click in the event at the position of the first downbeat (the start of the bar). When you press [Shift], the pointer turns into a pencil. Clicking adds a tempo event at the first downbeat – when you later adjust the tempo with the Time Warp tool, the first downbeat will stay in place. Note that if the event starts exactly on the first downbeat (no audio before the “one”), you do not need to do this.
Editing tempo and signature Tempo Detection (Cubase Pro only) Using the Time Warp tool in a MIDI editor This is very similar to using the tool in an audio editor: • When you use the Time Warp tool, a tempo event is automatically inserted at the beginning of the edited part – this tempo event will be adjusted when you warp the tempo grid with the tool. Material before the edited part will not be affected. • Only the default mode for the Time Warp tool is available.
Editing tempo and signature Tempo Detection (Cubase Pro only) The Tempo Detection Panel The Tempo Detection Panel contains the functions for analyzing the tempo of an audio event or MIDI part. It is opened via the Project menu. In the top section of the panel, the name of the selected event or part is shown. Below the name, the Analyze button is located. Click this button to start the tempo detection. The middle section contains several functions for correcting and fine-tuning the detected tempo curve.
Editing tempo and signature Tempo Detection (Cubase Pro only) Detecting the basic tempo of an audio event/MIDI part PROCEDURE 1. In the Project window, select the audio event/MIDI part that you want to analyze. 2. On the Project menu, select “Tempo Detection…”. The Tempo Detection Panel opens. 3. Click the Analyze button. RESULT • A rough tempo map based on the beat analysis is created for the selected audio clip. • A tempo and a signature track are added to the project.
Editing tempo and signature Tempo Detection (Cubase Pro only) The detected tempo has jumps and spikes although it should be steady If you get the message that the algorithm has detected irregular tempo changes, even though you know that the material has a more or less steady tempo, you can use the “Smooth Tempo” function. • To retrigger the tempo analysis based on the assumption that the material has a steady tempo, click the “Smooth Tempo” button.
Editing tempo and signature Tempo Detection (Cubase Pro only) The beginning of the tempo curve needs to be corrected When you edit a tempo event, the tempo curve by default is reanalyzed from the point of editing towards the right. However, if the detection did not produce proper results at the beginning of the event or part, you can change the direction in which the algorithm works. PROCEDURE 1.
Editing tempo and signature Adjusting the audio to the project tempo Adjusting the audio to the project tempo If you want freely recorded audio to follow a fixed tempo or a different project tempo, you can use the Set Definition From Tempo dialog to save the tempo information from the tempo track in the corresponding audio clips. PROCEDURE 1. Select the audio events that you want to have follow the project tempo. For example, this could be the individual tracks in a multi-track drum session. 2.
Project Browser (Cubase Pro only) Window Overview The Project Browser window provides a list based representation of the project. This allows you to view and edit all events on all tracks by using regular value editing in a list.
Project Browser (Cubase Pro only) Window Overview Opening the Project Browser You open the Project Browser by selecting “Browser” from the Project menu. The Browser window can be open while you are working in other windows; any changes made in the Project window or an editor are immediately reflected in the Project Browser and vice versa. Navigating in the Browser You use the Project Browser much like you use the Windows Explorer/Mac OS Finder for browsing folders on your hard disk.
Project Browser (Cubase Pro only) Editing tracks • To select a display format for all position and length values, use the Time Format pop-up menu. • You can sort events in the display by columns, by clicking the column heading. For example, if you want to sort events by their start positions, click that column heading. An arrow appears in the column heading, indicating that events are sorted by that column.
Project Browser (Cubase Pro only) Editing tracks The following parameters are available for the different items: RELATED LINKS Editing automation tracks on page 934 The list columns for audio events Name Allows you to change the name of the event. Double-clicking the waveform image to the left of it opens the event in the Sample Editor. File The name of the audio file referenced by the event’s audio clip. Start The start position of the event.
Project Browser (Cubase Pro only) Editing tracks Mute Click in this column to mute or unmute the event. Image Displays a waveform image of the event inside a gray box corresponding to the clip. The image is scaled according to the width of the column. The list columns for audio parts Name The name of the part. Double-clicking on the part symbol to the left of it opens the part in the Audio Part Editor. Start The start position of the part.
Project Browser (Cubase Pro only) Editing tracks • The Automation item corresponds to the automation track in the Project window, and contains the track’s automation events. NOTE If you have not performed any automation or opened an automation track, the Browser will only contain the MIDI data. When editing the Track Data, the following parameters are available: The list columns for MIDI events Type The type of MIDI event. This cannot be changed. Start The position of the event.
Project Browser (Cubase Pro only) Editing tracks • For VST 3 events, this is the value of the event parameter, with a range of 0.0 to 1.0. • For other event types, this is not used. Channel The event’s MIDI channel. Comment This column is used for some event types only, providing an additional comment about the event. The list columns for MIDI parts Name The name of the part. Start The start position of the part. Editing this value is the same as moving the part. End The end position of the part.
Project Browser (Cubase Pro only) Editing tracks Editing Note Expression data in the Project Browser In the Project Browser, you can view and edit the MIDI controller events or VST 3 events of a MIDI note with Note Expression data. To view and edit the Note Expression data content of a MIDI note, proceed as follows: PROCEDURE 1. In the Project Structure list, select the Note Expression subitem of the MIDI note that you want to view or edit.
Project Browser (Cubase Pro only) Editing tracks Creating MIDI events You can use the Project Browser to create new MIDI events. PROCEDURE 1. Select a MIDI part in the Project Structure list. 2. Move the project cursor to the desired position for the new event. 3. Use the Add pop-up menu above the event display to select which type of MIDI event to add. 4. Click the Add button. An event of the selected type is added to the part, at the project cursor position.
Project Browser (Cubase Pro only) Editing tracks Editing the video track When the video track is selected in the Project Structure list, the event display lists the video events on the track, with the following parameters: Name The name of the video clip that the event refers to. Start The start position of the event. Editing this value is the same as moving the event. End The end position of the event.
Project Browser (Cubase Pro only) Editing tracks ID The number of the marker. For regular (non-cycle) markers, this corresponds to the key commands used for navigating to the markers. For example, if a marker has ID 3, pressing [Shift]-[3] on the computer keyboard will move the song position to that marker. By editing these values, you can assign the most important markers to key commands.
Project Browser (Cubase Pro only) Editing tracks Editing time signatures When “Signature track” is selected in the Project Structure list, the event display shows the time signature events in the project: Position The position of the event. Note that you cannot move the first time signature event. Signature The value (time signature) of the event. You can add new time signature events by clicking the Add button. This creates a 4/4 event, at the beginning of the bar closest to the project cursor position.
Export Audio Mixdown Introduction The Export Audio Mixdown function in Cubase allows you to mix down audio from the program to files on your hard disk in a number of formats. In the Channel Selection section, you can choose which channels (or busses) to export. Cubase Pro only: By activating the “Channel Batch Export” option you can choose to mix down several channels in one go. For each channel, an individual file will be created.
Export Audio Mixdown Mixing down to audio files • MIDI tracks are not included in the mixdown! To make a complete mixdown containing both MIDI and audio, you first need to record all your MIDI music onto audio tracks (by connecting the outputs of your MIDI instruments to your audio inputs and recording, as with any other sound source). Mixing down to audio files PROCEDURE 1. Set up the left and right locators to encompass the section you want to mix down. 2.
Export Audio Mixdown Mixing down to audio files 5. In the File Location section at the top, you can set up the naming scheme for the exported files and select a path for the mixdown files. 6. Select an entry from the File Format pop-up menu and make additional settings for the file to be created. This includes codec settings, meta data, sample rate, bit depth, etc. The available options depend on the selected file format. 7.
Export Audio Mixdown The Export Audio Mixdown dialog The Export Audio Mixdown dialog Below you will find detailed descriptions of the different sections of the dialog and the corresponding functions. About the Channel Selection section The Channel Selection section shows all output and audio-related channels available in the project. These channels are organized in a hierarchical structure that allows you to easily identify and select the channels you want to export.
Export Audio Mixdown The Export Audio Mixdown dialog Naming Options • Select “Set to Project Name” to set the Name field to the project name. • Activate the “Auto Update Name” option to add a number to the specified file name every time you click the Export button. • Select “Choose…” to open a dialog in which you can browse for a path and enter a file name. Path Options The file name will automatically be shown in the Name field.
Export Audio Mixdown The Export Audio Mixdown dialog Channel Name The name of the exported channel. Project Name The name of the Cubase project. Counter (Cubase Pro only) This is only available for batch export. Use this to include an incrementing number in the generated files names in order to create unique file names. NOTE By combining the available naming elements, you can make sure that all the files of a batch are exported with unique names.
Export Audio Mixdown The Export Audio Mixdown dialog About the File Format section In the File Format section, you can select the file format for your mixdown files and make additional settings that are different for each file type. RELATED LINKS The available file formats on page 946 About the Audio Engine Output section The Audio Engine Output section contains all the settings related to the output of the Cubase audio engine.
Export Audio Mixdown The Export Audio Mixdown dialog To avoid clipping, the following summing rules are applies: Stereo: The panning law as defined in the Project Setup dialog is applied. Surround (Cubase Pro only): The channels are summed and then divided through the number of channels used (in case of a 5.1. channel = (L+R+C+LFE+Ls+Rs)/6). Split Channels Activate this if you want to export all subchannels of a multi-channel bus as separate mono files.
Export Audio Mixdown The available file formats • If you activate the “Create New Project” option, a new project is created that contains one audio track for each of the exported channels, as well as the signature and tempo track of the original project. Note that if this is activated, the Pool and Audio Track options are disabled. The tracks will have the corresponding mixdown file as audio event. The track names will be identical with the export channel names.
Export Audio Mixdown The available file formats • Ogg Vorbis files • Windows Media Audio Pro files (Windows only) IIMPORTANT MPORTANT Note that the Wave 64 file format is the only format that allows you to export files with a resulting size of more than 2 GB. NOTE Most of the settings described below for AIFF files are available for all file types. Where this is not the case, you will find additional information in the corresponding section.
Export Audio Mixdown The available file formats AIFF files AIFF stands for Audio Interchange File Format, a standard defined by Apple Inc. AIFF files have the extension .aif and are used on most computer platforms. For AIFF files the following options are available: Insert Broadcast Wave Chunk This allows you to include information about the date and time of creation, a timecode position (allowing you to insert exported audio at the correct position in other projects, etc.
Export Audio Mixdown The available file formats AIFC files AIFC stands for Audio Interchange File Format Compressed, a standard defined by Apple Inc. These files support compression ratios as high as 6:1 and contain tags in the header. AIFC files have the extension “.aifc” and are used on most computer platforms. AIFC files support the same options as AIFF files. Wave files Wave files have the extension “.wav” and are the most common file format on the PC platform.
Export Audio Mixdown The available file formats FLAC files Free Lossless Audio Codec files are audio files that are typically 50 to 60 % smaller than regular Wave files, for example. FLAC is an open source format. Use the Compression Level fader to select the compression level for the FLAC file. Since FLAC is a lossless format, the level has more influence on the encoding speed than on the file size. MPEG 1 Layer 3 files MPEG 1 Layer 3 files have the extension “.mp3”.
Export Audio Mixdown The available file formats Windows Media Audio Pro files (Windows only) This is a continuation of the Windows Media Audio format developed by Microsoft Inc. Due to the advanced audio codecs and lossless compression used, WMA Pro files can be decreased in size with no loss of audio quality. Furthermore, WMA Pro features the possibility of mixing down to 5.1 surround sound. The files have the extension “.wma”.
Export Audio Mixdown The available file formats Constant Bitrate This will encode to a 5.1 surround file with a constant bit rate (set in the Bit Rate/Channels menu, see below). Constant bit rate is preferably used if you want to limit the size of the final file. The size of a file encoded with a constant bit rate is always the bit rate times the duration of the file. Variable Bitrate Encodes to a 5.
Export Audio Mixdown The available file formats The Quiet Mode in a Windows Media player can be set to one of three settings. Below, these settings are listed together with an explanation of how the Dynamic Range settings affect them: • Off: If Quiet Mode is off, the dynamic range settings that were automatically calculated during the encoding will be used.
Synchronization Background What is synchronization? Synchronization is the process of getting two or more devices to play back together at the same exact speed and position. These devices can range from audio and video tape machines to digital audio workstations, MIDI sequencers, synchronization controllers, and digital video devices. Synchronization basics There are three basic components of audio/visual synchronization: position, speed, and phase.
Synchronization Timecode (positional references) Machine control is an integral part of any synchronization setup. In many cases, the device simply called “the master” will control the whole system. However, the term “master” can also refer to the device that is generating the position and speed references. Care must be taken to differentiate between the two. Master and slave Calling one device the “master” and another the “slave” can lead to a great deal of confusion.
Synchronization Timecode (positional references) Timecode standards Timecode has several standards. The subject of the various timecode formats can be very confusing due to the use and misuse of the shorthand names for specific timecode standards and frame rates. The reasons for this confusion are described in detail below. The timecode format can be divided into two variables: frame count and frame rate.
Synchronization Clock sources (speed references) 24 fps This is the true speed of standard film cameras. 24.9 fps (Cubase Pro only) This frame rate is commonly used to facilitate transfers between PAL and NTSC video and film sources. It is mostly used to correct for some error. 25 fps This is the frame rate of PAL video. 29.97 fps This is the frame rate of NTSC video. The count can be either non-drop or drop-frame.
Synchronization The Project Synchronization Setup dialog Audio clock Audio clock signals run at the speed of the sample rate used by a digital audio device and are transmitted in several ways: Word clock Word clock is a dedicated signal running at the current sample rate that is fed over BNC coaxial cables between devices. It is the most reliable form of audio clock and is relatively easy to connect and use.
Synchronization The Project Synchronization Setup dialog • On the Transport menu, select the “Project Synchronization Setup…” option. • On the Transport panel, [Ctrl]/[Command]-click the Sync button. The dialog is organized into sections separating related groups of settings. The arrows shown between the various sections of the dialog indicate how settings in one section influence settings in another section. In the following, the available sections are described in detail.
Synchronization The Project Synchronization Setup dialog ASIO Audio Device This option is only available with audio cards that support ASIO Positioning Protocol. These audio cards have an integrated LTC reader or ADAT sync port and can perform a phase alignment of timecode and audio clock. VST System Link VST System Link can provide all aspects of sample-accurate synchronization between other System Link workstations.
Synchronization The Project Synchronization Setup dialog Auto-Detect Frame-Rate Changes Cubase can notify the user when the frame rate of timecode changes at any point. This is helpful in diagnosing problems with timecode and external devices. This notification will interrupt playback or recording. Deactivating this option will avoid any interruption in playback or recording.
Synchronization The Project Synchronization Setup dialog Number of Audio Tracks (Cubase Pro only) The number of audio tracks should be set to match the amount of available audio tracks in the destination device. This setting determines how many record-enable buttons are shown in the MMC Master panel (see below). MMC Master panel The MMC Master panel can be opened from the Devices menu.
Synchronization The Project Synchronization Setup dialog Option Description MMC Input Set this to the MIDI input that is connected to the master machine control device. MMC Output Set this to the MIDI output that is connected to the master machine control device. MMC Device ID This determines the MIDI ID number that is used to identify the machine in Cubase. IMPORTANT The MMC protocol involves polling devices (requesting information) for their status which requires two way communication.
Synchronization Synchronized operation MIDI Clock Follows Project Position Activate this option to ensure that the MIDI clock device follows Cubase when looping, locating, or jumping while playing. NOTE Some older MIDI devices might not respond well to these positioning messages and could take some time synchronizing to the new location. Always Send Start Message MIDI clock transport commands include Start, Stop, and Continue. However, some MIDI devices do not recognize the Continue command.
Synchronization Example Scenarios (Cubase Pro only) Cubase will detect incoming timecode, locate to its current position, and start playback in sync with the incoming timecode. Cubase Pro only: In a typical scenario, an external tape machine (e. g. a VTR) has its timecode output connected to Cubase. Cubase is sending machine control commands to the deck. When Sync is activated and you click Play on the Transport panel, a play command is sent to the VTR.
Synchronization Working with VST System Link 2. Open the Project Synchronization Setup dialog and select “MIDI Timecode” as the timecode source. When recording from the hard disk recorder into Cubase, Cubase will be the machine control master and the timecode slave, locking to incoming MTC. 3. In the “Machine Control Output Destination” section, select the “MIDI Machine Control” option. Cubase will now send MMC commands to the hard disk recorder to locate and start playback. 4.
Synchronization Working with VST System Link • Since you can use VST System Link to connect different VST System Link applications on different platforms, you can take advantage of effect plug-ins and VST instruments that are specific to certain programs or platforms. Requirements The following equipment is required for VST System Link operation: • Two or more computers. These can be of the same type or use different operating systems – it does not matter.
Synchronization Working with VST System Link Making connections Below, we assume that you are connecting two computers. Should you have more than two computers, it is still best to start with two and add the others one by one once the system is working – this makes troubleshooting easier if you run into problems. For two computers, you will need two digital audio cables, one in each direction: PROCEDURE 1.
Synchronization Working with VST System Link 6. Now you need to make sure that one audio card is set to be the clock master and all other cards are set to be clock slaves (i. e. they listen for the clock signal coming from the clock master). The naming and procedure for this differs depending on the audio hardware – consult its documentation if required. If you are using Steinberg Nuendo ASIO hardware, all cards default to the AutoSync setting.
Synchronization Working with VST System Link To adjust the latency of a system, you adjust the size of the buffers in the ASIO control panel – the lower the buffer size, the lower the latency. It is best to keep to fairly low latencies (buffer sizes) if your system can handle it – about 12 ms or less is usually a good idea. Setting up your software Now it is time to set up your programs. The procedures below describe how to set things up in Cubase.
Synchronization Activating VST System Link 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.
Synchronization Activating VST System Link To set things up, open the VST System Link panel: PROCEDURE 1. From the Devices menu, open the Device Setup dialog. 2. In the Devices list to the left, select the “VST System Link” entry. The VST System Link settings are shown to the right of the Devices list. 3. Use the ASIO Input and ASIO Output pop-up menus to define which channel is the networking channel. 4. Activate the Active checkbox at the top left of the panel. 5.
Synchronization Activating VST System Link Putting the network online After each computer’s name you will see whether it is online or not. When a computer is online, it will receive transport and timecode signals, and its sequencer application can be started and stopped by remote control. If it is off-line, it can only be started from its own keyboard – it is effectively an independent machine, although it is still on the network.
Synchronization Activating VST System Link Scrubbing via VST System Link You can scrub on one computer and have the video and audio on another computer scrub along. However, the playback on the linked systems may not be perfectly in sync while scrubbing and there are some further restrictions you should bear in mind when scrubbing via VST System Link: • Use the jog/shuttle control on the Transport panel or a remote controller for scrubbing.
Synchronization Activating VST System Link This allows you to route MIDI tracks to VST instruments running on another computer, as described in the application examples. RELATED LINKS Using one computer for VST instruments on page 978 The “Use Selected ASIO Ports for Data only” setting If you are sending huge amounts of MIDI data at once, there is a small possibility that you might run out of bandwidth on your VST System Link network.
Synchronization Activating VST System Link In the following example, we assume you are using two computers, with computer 1 as your main mix computer and computer 2 running two additional stereo audio tracks, an FX channel track with a reverb plug-in and a VST instrument plug-in with stereo outputs. PROCEDURE 1. Set things up so that you can listen to the audio playback from computer 1. In other words, you need an unused set of outputs, e. g.
Synchronization Activating VST System Link Internal mixing and latency One problem with mixing inside the computer is the latency issue we mentioned earlier. The VST engine always compensates for record latencies, but if you are monitoring through computer 1 you will hear a processing delay while you listen to signals coming from your other computers (not on your recording!). If your audio card in computer 1 supports ASIO Direct Monitoring you should definitely turn this on.
Synchronization Activating VST System Link Application examples Using one computer for VST instruments In this example, one computer will be used as main record and playback machine, and another computer as a virtual synth rack. PROCEDURE 1. Record a MIDI track into computer 1. 2. Once you have finished recording, route the MIDI output of that track to VST System Link MIDI port 1. 3. On computer 2, open up the VST Instruments window and assign an instrument to the first slot in the rack. 4.
Synchronization Activating VST System Link 2. Add the desired effect as an insert effect for the track. Let’s say you add a high-quality reverb plug-in. 3. In the Inspector, select one of the VST System Link busses as input for the audio track. You want to use a separate VST System Link bus, which will only be used for this purpose. 4. Route the channel to the desired output bus.
Video Cubase supports the integration of video files in your project. You can play back video files in various formats and via different output devices from within Cubase, edit your music to the video, extract the audio material from a video file, and replace the audio later with different audio material. Before You Start When working on a project involving a video file, you first need to set up your system according to your equipment and your demands.
Video Before You Start Video Container Formats Video and other multi-media files come in a container format. This container holds various streams of information including video and audio, but also metadata such as synchronization information required to play back audio and video together. Data regarding creation dates, authors, chapter markings, and more can also be held within the container format.
Video Before You Start Frame Rates Cubase is capable of working with different types of video and film frame rates. RELATED LINKS Frame rate (speed) on page 956 Video Output Devices Cubase supports several ways to play back video files. Viewing video files onscreen in the Video Player window may work just fine for many applications, but often it is necessary to display video in a large format for viewing small details and so others involved in the session can also see the video.
Video Preparing a Video Project FireWire DV Output You have the option to use FireWire ports on the computer to output DV video streams to external converters such as various camcorders and standalone FireWire to DV conversion units. These units can be connected to a television or projector for large format viewing. The FireWire protocol is capable of transporting data at high speed and is the most common standard for communicating with video-related peripheral equipment.
Video Preparing a Video Project When importing video files via the Pool or by using drag and drop, Cubase can automatically extract the audio from a video file. Whether this happens, depends on the “Extract Audio on Import Video File” setting in the Preferences dialog (Video page). When importing video, Cubase automatically creates a thumbnail cache file. The generated file is stored in the same folder as the video file and gets the name of the file with the suffix “.vcache”.
Video Preparing a Video Project For example, when the project frame rate is switched from 30 fps to 29.97 fps, the start time is changed so that all the events currently in the project remain at the same positions in relation to realtime. If you want the project start time to remain the same, you must manually change it back after clicking the “Get From Video” button.
Video Playing Back Video that they are in a lower resolution, i. e. the pictures are not as clear as when they are calculated. When the processes that rely heavily on the computer CPU are finished, the frames are automatically recalculated, i. e. the program automatically switches between realtime calculation of the pictures and using the cache file. NOTE There are situations where no thumbnail cache file can be generated, e. g. if you import a video file from a folder that is write-protected.
Video Playing Back Video • You need a video card that supports OpenGL (version 2.0 recommended) for proper video playback. A card with OpenGL 1.2 can also be used, but might put restrictions on the video functionality. To check if your video equipment is capable of playing back a video from within Cubase, open the Video Player page in the Device Setup dialog. If your system does not meet the minimum video requirements, a corresponding message will be displayed.
Video Playing Back Video • The offset is only used during playback. It is defeated in stop and scrub mode so that you always see the correct video frame. AFTER COMPLETING THIS TASK If the quality of the video image is not a critical factor or if you are experiencing performance problems, try lowering the value on the Video Quality pop-up menu. Although higher quality settings make the video display sharper and smoother, they also lead to an increased processor load.
Video Playing Back Video Quarter Size The window size is reduced to a quarter of the actual size. Half Size The window size is reduced to half the actual size. Actual Size The window size corresponds to the size of the video. Double Size The window is enlarged to twice the actual size. Video Quality This submenu allows you to change the quality of the video image. NOTE • To resize the Video Player window, you can also drag the borders.
Video Editing Video Scrubbing Video You can scrub video events, i. e. play them back forwards or backwards at any speed. This is done by clicking in the Video Player window and moving the mouse to the left or to the right. You can also use the Scrub controls on the Transport panel or a jog wheel on a remote controller for scrubbing video events.
Video Replacing the Audio in a Video File • By activating the “Extract Audio on Import Video File” option in the Preferences dialog (Video page). This will automatically extract the audio stream from any video file during import. • By using the “Extract Audio from Video File” option on the Media menu. This creates an audio clip in the Pool, but does not add any events to the Project window. MPORTANT IIMPORTANT These functions are not available for MPEG-1 video files.
ReWire Introduction ReWire is a special protocol for streaming audio between two computer applications. Developed by Propellerhead Software and Steinberg, ReWire provides the following possibilities and features: • Realtime streaming of up to 256 (Cubase Artist: 128) separate audio channels, at full bandwidth, from the “synthesizer application” into the “mixer application”. In this case, the “mixer application” is of course Cubase.
ReWire Launching and quitting Launching and quitting When using ReWire, the order in which you launch and quit the two programs is very important. Launching for normal use with ReWire PROCEDURE 1. First launch Cubase. 2. Enable one or several ReWire channels in the ReWire Device dialog for the other application. 3. Launch the other application. It may take slightly longer for the application to start when you are using ReWire.
ReWire Activating ReWire channels Activating ReWire channels ReWire supports streaming of up to 256 (Cubase Artist: 128) separate audio channels. The exact number of available ReWire channels depends on the synthesizer application. Using the ReWire Device panels in Cubase, you can specify which of the available channels you want to use. PROCEDURE 1. Open the Devices menu and select the menu item with the name of the ReWire application.
ReWire How the ReWire channels are handled Tempo settings As far as tempo goes, Cubase is always the master. This means that both programs will run in the tempo set in Cubase. However, if you are not using the tempo track in Cubase, you can adjust the tempo in either program, and this will immediately be reflected in the other. MPORTANT IIMPORTANT If you are using the tempo track in Cubase (i. e.
ReWire Routing MIDI via ReWire Routing MIDI via ReWire When using Cubase with a ReWire-compatible application, additional MIDI outputs will automatically appear on the MIDI Output pop-up menus for MIDI tracks. This allows you to play the synthesizer application via MIDI from Cubase, using it as one or several separate MIDI sound sources. The MIDI outputs for a Reason song. Here, each output goes directly to a device in the Reason rack.
Key Commands Introduction Most of the main menus in Cubase have key command shortcuts for certain items on the menus. In addition, there are numerous other Cubase functions that can be performed via key commands. These are all default settings. You can customize existing key commands to your liking, and also add commands for many menu items and functions that currently have no key command assigned.
Key Commands Setting up key commands Setting up key commands Adding or modifying a key command In the Key Commands dialog you will find all main menu items and a large number of other functions, arranged in a hierarchical way similar to the Windows Explorer and Mac OS Finder. The function categories are represented by a number of folders, each containing various menu items and functions.
Key Commands Setting up key commands 5. Alternatively, you can use the search function in the dialog to find the desired item. For a description of how to use the search function, see below. 6. When you have found and selected the desired item, click in the “Type in Key” field and enter a new key command. You can choose any single key or a combination of one or several modifier keys ([Alt]/[Option], [Ctrl]/[Command], [Shift]) plus any key. Just press the keys you want to use. 7.
Key Commands Setting up key commands Removing a key command PROCEDURE 1. Use the list of categories and commands to select the item or function for which you wish to remove a key command. The key command is shown in the Keys column and the Keys list. 2. Select the key command in the Keys list and click the Delete button (the trash icon). You are asked whether you really want to remove the key command. 3. Click Remove to remove the selected key command. 4. Click OK to close the dialog.
Key Commands Setting up key commands A macro with three commands • To remove a command from the macro, select it in the Macros list and click Delete. • Similarly, to remove an entire macro, select it in the Macros list and click Delete. After you have closed the Key Commands dialog, all macros you have created appear at the bottom of the Edit menu in the Macros submenu, available for instant selection. You can also assign key commands to macros.
Key Commands Setting up key commands Loading earlier key commands settings If you have saved key commands settings with an earlier program version, it is possible to use them in this Cubase version, by using the “Import Key Command File” function, which lets you load and apply saved key commands. PROCEDURE 1. Open the Key Commands dialog. 2. Click the “Import Key Command File” button to the right of the Presets pop-up menu. A standard file dialog opens. 3.
Key Commands Setting up tool modifier keys Setting up tool modifier keys A tool modifier key is a key you can press to get an alternate function when using a tool. For example, clicking and dragging an event with the Object Selection tool normally moves it – holding down a modifier key (by default [Alt]/[Option]) while dragging will copy it instead. The default assignments for tool modifier keys can be found in the Preferences dialog (Editing–Tool Modifiers page).
Key Commands The default key commands Audio category Option Key command Adjust Fades to Range [A] Auto-Grid [Shift]-[Q] Crossfade [X] Automation category Option Key command Open Panel [F6] Read Automation for All Tracks On/Off [Alt]/[Option]-[R] Write Automation for All Tracks On/Off [Alt]/[Option]-[W] Option Key command Chord Pads [Ctrl]/[Command]-[Shift]-[C] Option Key command MixConsole [F3] Video [F8] Virtual Keyboard [Alt]/[Option]-[K] VST Connections [F4] VST Instruments
Key Commands The default key commands Option Key command Edit In-Place [Ctrl]/[Command]-[Shift]-[I] Group [Ctrl]/[Command]-[G] Insert Silence [Ctrl]/[Command]-[Shift]-[E] Left Selection Side to Cursor [E] Lock [Ctrl]/[Command]-[Shift]-[L] Move to Cursor [Ctrl]/[Command]-[L] Move to Front (Uncover) [U] Mute [M] Mute Events [Shift]-[M] Mute/Unmute Objects [Alt]/[Option]-[M] Open Default Editor [Ctrl]/[Command]-[E] Open Score Editor [Ctrl]/[Command]-[R] Open/Close Editor [Return] P
Key Commands The default key commands Editors category Option Key command Show/Hide Editors [Ctrl]/[Command]-[Alt]/[Option]-[E] Show/Hide Info Line [Ctrl]/[Command]-[I] Show/Hide Inspector [Alt]/[Option]-[I] Show/Hide Overview [Alt]/[Option]-[O] Show/Hide Rack [Alt]/[Option]-[T] Toggle Rack Tabs [Ctrl]/[Command]-[Alt]/[Option]-[T] Option Key command Close [Ctrl]/[Command]-[W] New [Ctrl]/[Command]-[N] Open [Ctrl]/[Command]-[O] Quit [Ctrl]/[Command]-[Q] Save [Ctrl]/[Command]-[S] Sav
Key Commands The default key commands Option Key command Toggle Location Tree [Ctrl]/[Command]-[Alt]/[Option]-Num [4] Toggle Locations [Ctrl]/[Command]-[Alt]/[Option]-Num [8] Toggle Previewer [Ctrl]/[Command]-[Alt]/[Option]-Num [2] Option Key command Show/Hide Controller Lanes [Alt]/[Option]-[L] MIDI category Navigate category Option Key command [Shift]-[Down Arrow] Add Down: Expand/Undo selection in the Project window to the bottom/ Move selected event in the Key Editor down 1 octave Add Le
Key Commands The default key commands Option Key command Top: Select top track in the track list [Home] Toggle Selection [Ctrl]/[Command]-[Space] Up: Select next in the Project window/ Move selected event in the Key Editor one semitone up [Up Arrow] Option Key command End Left [Alt]/[Option]-[Shift]-[Left Arrow] End Right [Alt]/[Option]-[Shift]-[Right Arrow] Left [Ctrl]/[Command]-[Right Arrow] Right [Ctrl]/[Command]-[Right Arrow] Start Left [Alt]/[Option]-[Left Arrow] Start Right [Alt]
Key Commands The default key commands Option Key command Glue tool [4] Mute tool [7] Next Tool [F10] Play tool [9] Previous Tool [F9] Range tool [2] Object Selection tool [1] Split tool [3] Zoom tool [6] Transport category Option Key command Auto Punch In [I] Auto Punch Out [O] Cycle [÷] (Win)/[/] (Mac) Exchange Time Formats [.
Key Commands The default key commands Option Key command Play Selection Range [Alt]/[Option]-[Space] Record Num [*] Retrospective Record [Shift]-Num [*] Return to Zero Num [.
Key Commands The default key commands Zoom category Option Key command Zoom Full [Shift]-[F] Zoom In [H] Zoom In Tracks [Ctrl]/[Command]-[Down Arrow] Zoom Out [G] Zoom Out Tracks [Ctrl]/[Command]-[Up Arrow] Zoom to Event [Shift]-[E] Zoom to Selection [Alt]/[Option]-[S] Zoom Tracks Exclusive [Ctrl]/[Command]-[Alt]/[Option]-[Down Arrow] 1011
File handling Importing audio In Cubase audio can be imported in a variety of different formats. For example, you can import tracks from audio CDs, or import audio files saved in different formats (compressed and uncompressed).
File handling Importing audio • When importing multiple files at the same time, you can select to convert the imported files automatically if necessary, i. e. if the sample rate is different than the project’s or the resolution is lower than the project setting. NOTE When you import 5-channel interleaved files that do not have the speaker arrangement metadata (“BEXT”), Cubase always considers them as 5.0 format. Use Settings No Options dialog will appear when you import.
File handling Importing audio • To import the CD tracks into the Pool, select “Import Audio CD…” from the Media menu. This might be the preferred method if you want to import several CD tracks in one go. Selecting one of the Import Audio CD menu items brings up the following dialog: 1) Play 2) Stop 3) Play from Left Marker 4) Play to Right Marker 5) Start of selection handle 6) End of selection handle To import one or more tracks, proceed as follows: PROCEDURE 1.
File handling Importing audio 2. Windows only: Activate the “Secure Mode” option if you want to use a Secure Read mode. Use this if you encounter problems when trying to import an audio CD. Error checking and correction will be done during the process. Note that this mode will take more time. 3. In the Windows version, select the data transfer speed from the Speed pop-up menu. While you normally want to use the fastest possible speed, you may have to select a slower speed for flawless audio extraction.
File handling Importing audio • If you want to copy and import a section of an audio CD track only, select the track in the list and specify the start and end of the selection to be copied by dragging the handles in the copy selection ruler. NOTE Note that you can import sections of several audio CD tracks by selecting them in turn and adjusting the selection. The start and end settings for each track are displayed in the list.
File handling Importing audio • REX 2 files (file format of ReCycle 2.0 and later, extension “.rx2”). IIMPORTANT MPORTANT For this to work, the REX Shared Library needs to be installed on your system. PROCEDURE 1. Select an audio track and move the project cursor to where you want the imported file to start. You probably want to import REX files to tempo based audio tracks, since this will allow you to change the tempo later on (having the imported REX file automatically adjust). 2.
File handling Exporting and importing OMF files (Cubase Pro only) The following file types are supported: FLAC files FLAC is an open source format and stands for Free Lossless Audio Codec. Audio files in this format are typically 50 to 60 % smaller than regular Wave files. FLAC files are not converted to Wave files on import. MPEG audio files MPEG, which stands for Moving Picture Experts Group, is the name of a family of standards used for encoding audio-visual information (e. g.
File handling Exporting and importing OMF files (Cubase Pro only) Exporting OMF files When exporting tracks and files as OMF, you should consider setting up your project to use mono tracks and mono files, to allow compatibility with audio applications that provide limited support for interleaved audio files. PROCEDURE 1. Open the File menu, open the Export submenu and select “OMF…”. The Export Options dialog opens. 2.
File handling Exporting and importing OMF files (Cubase Pro only) 4. If you want to copy only the portions of audio files that are used in the project, activate “Consolidate Events”. You can also define handle lengths in milliseconds to include audio outside each event boundary for later fine tuning. If you do not have any handles when consolidating audio files, you will not be able to adjust fades or edit points when the project is imported in another application. 5. Select “1.0 File” or “2.
File handling Exporting and importing standard MIDI files • • • “Import at Timecode Position” will insert the elements contained in the OMF file at their original timecode positions. This is useful when you want to position every imported element at its exact timecode position, i. e. as it was saved in the OMF file. This way, the elements will end up at their correct time positions even when Cubase uses a different frame rate than the OMF file. This is usually required in a picture-related context.
File handling Exporting and importing standard MIDI files You will also find most of these settings in the Preferences dialog (MIDI–MIDI File page). If you set these up in the Preferences dialog, you only need to click OK in the Export Options dialog to proceed.
File handling Exporting and importing standard MIDI files Option Description Export as Type 0 If this is activated, the MIDI file will be of type 0 (all data on a single track, but on different MIDI channels). If you do not activate this option, the MIDI file will be of Type 1 (data on separate tracks). Which type to choose depends on what you want to do with the MIDI file (in which application or sequencer it should be used, etc.).
File handling Exporting and importing standard MIDI files 3. Locate and select the MIDI file in the file dialog that opens and click Open. If you choose to create a new project, select the project folder. Select an existing project folder or create a new one. RESULT The MIDI file is imported. The result depends on the contents of the MIDI file and the Import Options settings in the Preferences dialog (MIDI–MIDI File page).
File handling Exporting and importing MIDI loops Option Description Destination Here, you can specify what happens when you drag a MIDI file into the project: • If you select the “MIDI Tracks” option, MIDI tracks are created for the imported file. • If you select the “Instrument Tracks” option, instrument tracks are created for each MIDI channel in the MIDI file. Furthermore, the program automatically loads appropriate presets.
File handling Exporting and importing track archives (Cubase Pro only) Exporting and importing track archives (Cubase Pro only) You can export Cubase tracks (audio, FX, group, instrument, MIDI, and video) as track archives for import into other Cubase (or Nuendo) projects. All the information associated with the tracks will be exported (channel settings, automation tracks, parts and events, etc.).
File handling Exporting and importing track archives (Cubase Pro only) PROCEDURE 1. Open the File menu, open the Import submenu and select “Track Archive…”. 2. In the file dialog that opens, select the XML file and click Open. The Import Options dialog opens. In the Project Settings area, you can see a comparison between the settings of the track archive and the active project. 3. Click in the Import column on the left to select the desired track(s) or click “Select All Tracks”.
Customizing Workspaces Workspaces in Cubase allow you to organize windows and specific dialogs for your common work routines. A workspace saves the size, position, and layout or setting of important windows and dialogs, such as the Project window, MixConsole, or Transport panel. You can define several workspaces. This allows you to quickly switch between different working modes, either through the Workspaces menu or by using key commands.
Customizing Workspaces Workspace Templates Cubase provides sample templates that you can use as a starting point for your own workspaces. The templates are made for screens with a resolution of 1280x800 px (minimal) or for screens with a resolution of 1920x1080 px (HD). You can change these templates according to your needs. IIMPORTANT MPORTANT • Deleting and overwriting templates cannot be undone.
Customizing Workspaces If you want to open the project’s original layout setting, you have the following options: • Select the project’s original layout from the project workspaces on the Workspaces menu or in the Workspace Organizer. • Deactivate the Open External Projects in Last Used View setting in File > Preferences > General. This opens all external projects in their original layout. However, this may lead to a modification of your own custom layout.
Customizing Workspaces 3. On the Workspaces menu, select one of the following: • To update your current workspace, click Update Workspace. • To save your workspace as a different workspace or workspace type, click Add Workspace. RELATED LINKS Creating Workspaces on page 1030 Workspaces Organizer The Workspaces Organizer allows you to manage the existing workspaces. To open the Workspaces Organizer, click Workspaces > Organize.
Customizing Using the Setup options NOTE • You can also click and drag a workspace to another position within a list. • You can move workspaces only within a list. For a global workspace to become a project workspace and vice versa, you must save it as a different type of workspace. • To rename a workspace, you can double-click the workspace name.
Customizing Using the Setup options The info line setup context menu The Setup dialogs If you select “Setup…” from the setup context menus, the Setup dialog opens. This allows you to specify which elements are visible/hidden and to set the order of the elements. You can also save and recall setup presets in this dialog. The dialog is divided into two sections. The left section displays the currently visible items and the right section displays the currently hidden items.
Customizing Appearance • By selecting items in the “Visible Items” list and using the Move Up and Move Down buttons, you can reorder the items list. Changes are applied directly. To undo all changes and revert to the standard layout, select “Default” on the setup context menu. • If you click the Save button (disk icon) in the Presets section, a dialog opens, allowing you to name the current configuration and save it as a preset.
Customizing Appearance Appearance–Colors The Appearance–Colors page features several subpages that allow you to change the default color of the Cubase desktop, the track types, the Project, Editor elements, and MixConsole elements. To change a color, proceed as follows: PROCEDURE 1. Select a subpage and click the color field of the element to which you want to assign a new color. A color selector pane opens. 2. Use the tools in the color selector pane to select a new color.
Customizing Appearance • To copy a color and paste it on another element, even on another subpage, open the context menu in the color selector pane and select “Copy Color” and “Paste Color”. You can also copy colors on the same subpage using drag and drop. • To edit the colors numerically, open the context menu in the color selector pane, and select “Show Color Values”.
Customizing Appearance Metering–Appearance Cubase allows for precise color assignment of level meter values. On the Metering–Appearance page you can specify colors for quick identification of what levels are being reached. You can adjust the colors for the Channel Meter or the Master Meter. For the Master Meter you can only make changes for the Digital Scale scaling mode. Changes take effect when you click Apply or OK.
Customizing Applying colors in the Project window Applying colors in the Project window You can use color scheming for an easier overview of tracks and events in the Project window. Colors can be applied individually to tracks and events/parts. If you color a track, the corresponding events and parts are displayed in the same color. However, you can also color events and parts differently, “overriding” the applied track color.
Customizing Applying colors in the Project window This offers you several options for automatically assigning colors to tracks that are added to the project. The following options are available: Use Default Track Color The default color (gray) is assigned. Use Previous Track Color Analyzes the color of the selected track and uses the same color for the new track. Use Previous Track Color +1 Analyzes the color of the selected track and uses the color that comes next in the color palette for the new track.
Customizing Applying colors in the Project window 2. On the toolbar, select the Color tool, click again, and select a color from the pop-up menu. RESULT The color is applied to the selected item. If you change the color of a track, the new color is used for all events on the track and for the corresponding channel in the MixConsole. NOTE If you assign a different color to individual parts or events, they no longer follow color changes of the track.
Customizing Applying colors in the Project window Color fields Click a field to open a color selector pane that allows you to specify a new color. Click Options for the following options. Append New Color Adds a new color button at the bottom of the color list. Insert New Color before Selection Adds a new color button above the selected color button. Remove Selected Color Removes the selected color. Reset Selected Color Resets the selected color to the factory settings.
Customizing Where are the settings stored? Adding and editing individual colors In the Project Colors dialog, you can fully customize the color palette. To add new colors to the color palette, proceed as follows: PROCEDURE 1. Add a new color by clicking the Insert New Color button. 2. In the Project Colors section, click the newly created color field to activate the new color for editing. 3. Use the Standard Colors or Modify Color sections to specify a new color.
Customizing Where are the settings stored? • On Windows systems, preference files are stored in the following location: “\Users\\AppData\Roaming\Steinberg\\”. On the Start menu, you will find a shortcut to this folder for easy access. • On Mac OS X systems, preference files are stored in the following location: “/Library/Preferences//” under your home directory. The full path is: “/Users//Library/Preferences//”. NOTE The RAMpresets.
Customizing Where are the settings stored? • Disable program preferences • Disables the current preferences, and opens the program with the factory default settings instead. Delete program preferences Deletes the preferences and opens the program with the factory default settings instead. This process cannot be undone. Note that this affects all versions of Cubase installed on your computer.
Optimizing Optimizing Audio Performance This section gives you some hints and tips on how to get the most out of your Cubase system, performance-wise. Some of this text refers to hardware properties and can be used as a guide when upgrading your system. Look for details and current information on the Cubase web site. Performance Aspects Tracks and Effects The faster your computer, the more tracks, effects, and EQ you are able to play.
Optimizing Optimizing Audio Performance System Factors That Affect Performance RAM The more RAM is installed in your computer, the better. IIMPORTANT MPORTANT On computers running a Windows 32-bit operating system, a running application can address a maximum of 2 GB of RAM. On a Macintosh computer running 32-bit Mac OS X, this limit is 4 GB. The 64-bit versions of Windows and Mac OS X are able to assign considerably more than 4 GB of RAM to a running 64-bit application.
Optimizing Optimizing Audio Performance Hard Disk and Controller The number of hard disk tracks that you can record and play back at the same time also depends on the speed of your hard disk and hard disk controller. If you use E-IDE disks and controllers, make sure that the transfer mode is DMA Busmaster. Under Windows, you can check the current mode by launching the Windows Device Manager and looking for properties of the IDE ATA/ATAPI controller’s primary and secondary channel.
Optimizing Optimizing Audio Performance Multi Processing When Multi Processing is activated and there is more than one CPU in your system, the processing load is distributed evenly to all available CPUs, allowing Cubase to make full use of the combined power of the multiple processors. • To activate Multi Processing, select Devices > Device Setup, select VST Audio System, and activate Multi Processing. VST Performance Window This window shows the audio processing load and the hard disk transfer rate.
Optimizing Optimizing Audio Performance NOTE You can show a simple view of the performance meter on the Transport panel and on the Project window toolbar. These meters only feature the average and the disk indicator. ASIO-Guard The ASIO-Guard allows you to shift as much processing as possible from the ASIO realtime path to the ASIO-Guard processing path. This results in a more stable system.
Optimizing Optimizing Audio Performance 3. Activate the Activate ASIO-Guard option. NOTE This option is only available, if you activate Multi Processing. 4. Select an ASIO-Guard Level. The higher the level, the higher the processing stability and audio processing performance. However, higher levels also lead to an increased ASIO-Guard latency and memory usage.
Preferences The Preferences dialog provides options and settings that control the global behavior of the program. Preferences Dialog The Preferences dialog is divided into a navigation list and a settings page. Clicking one of the entries in the navigation list opens a settings page. • To open the Preferences dialog, select File > Preferences.
Preferences Preferences Dialog In addition to the settings, the dialog provides the following options: Preference Presets Allows you to select a saved preference preset. Store Allows you to save the current preferences as a preset. Rename Allows you to rename a preset. Delete Allows you to delete a preset. Store marked preferences only Allows you to select which pages are included in the preset. Help Opens the dialog help. Defaults Resets the options on the active page to their default settings.
Preferences Appearance Saving Partial Preferences Settings You can save partial preferences settings. This is useful when you have made settings that only relate to a certain project or situation, for example. When you apply a saved partial preference preset you only change the saved settings. All other preferences will be left unchanged. PROCEDURE 1. Select File > Preferences. 2. In the Preferences dialog make your settings. 3. Activate Store marked preferences only.
Preferences Editing Project Allows you to adjust the default colors in the Project window. Editors Allows you to adjust the default colors in the editors. MixConsole Faders Allows you to adjust the default colors for the level faders of the channel types in the MixConsole. MixConsole Racks Allows you to adjust the default colors for the racks in the MixConsole. MixConsole Channel Strip Allows you to adjust the default colors for the channel strips in the MixConsole.
Preferences Editing Cycle Follows Range Selection If this is activated, range selections that you make in the Sample Editor will be mirrored in the Project window as well. This lets you audition a range in the Sample Editor as a loop with the main transport controls, rather than with the Audition and Audition Loop controls in the Sample Editor.
Preferences Editing • When this option is activated, the up/down arrow keys are only used to change the track selection – the current event/part selection in the Project window will not be altered. Track Selection follows Event Selection If this option is activated and you select an event in the Project window, the corresponding track is also automatically selected.
Preferences Editing On Import Audio Files This setting determines what happens when importing an audio file into a project: • Open Options Dialog An Import Options dialog opens when you import, allowing you to select whether you want to copy the file to the audio folder and/or convert it to the project settings. • Use Settings Allows you to set the following standard actions: Copy Files to Working Directory copies the files to the project’s audio folder before import.
Preferences Editing Time Stretch Tool Algorithm Use this option to select a default algorithm that is applied when using the Object Selection tool in Sizing Applies Time Stretch mode. This mode allows you to resize parts and events in the Project window and apply time stretch to their contents in the process, so that the audio material is adjusted to fit the new length of the part or event.
Preferences Editing • Increment/Decrement on Left/Right-Click In this mode, you can click with the left or right mouse button to decrease or increase the value. To edit values by typing in this mode, please double-click. Under Mac OS X, right-clicking is the same as [Ctrl]/[Command]-clicking. We recommend that you use a two-button mouse and set up the right button to generate a [Ctrl]/[Command]-click.
Preferences Editing Editing - MIDI Select Controllers in Note Range: Use Extended Note Context When this is activated and you move notes together with their controllers, for example, in the Key Editor, the extended note context will be taken into account. This means that controllers between the last selected note and the following note (or the end of the part) will also be moved. When this is deactivated, only the controllers between the first and the last selected note will be moved.
Preferences Editing NOTE If you just split a part and play back the result, it will sound the same regardless of this setting. However, if you split a part and delete the first half or move the second half to a different position in the project, you may want to activate Split MIDI Controllers to make sure all controllers have the correct value at the beginning of the second part.
Preferences Editing Deep Track Folding If this option is activated, any folding settings that you make on the Track Folding submenu of the Project menu also affect the subelements of the tracks. For example, if you fold in a folder track that contains 10 audio tracks, of which 5 have several open automation tracks, all these audio tracks within the folder track will also be folded in.
Preferences Event Display Editing - Tools Select Tool: Show Extra Info Activate this to show a tooltip for the Object Selection tool in the Project window event display. This tooltip indicates the current pointer position and the name of the track and event at which you are pointing. Warn before switching Display Domain (Timewarp Tool) (Cubase Pro only) If this is activated, a warning opens if you select the Timewarp tool and the ruler is not set to Bars and Beats.
Preferences Event Display Show Event Names Determines whether the names of parts and events are shown. Hide Truncated Event Names When zooming or resizing elements, the events can become very small so that the name is no longer completely visible. The name gets truncated. If this option is activated, event names are hidden if they do not fit into the event. Show Overlaps When events overlap, this setting allows you to specify when the overlapping areas are displayed.
Preferences Event Display Waveform Outline Intensity Increases or decreases the intensity of the waveform outline. Fade Handle Brightness Increases or decreases the brightness of the set fade lines within audio events. Background Color Modulation When this is activated, the backgrounds of audio waveforms reflect the waveform dynamics. This is especially useful to get an overview when working with small track heights.
Preferences Event Display Show Controllers Governs whether non-note events such as controllers, etc. are shown in MIDI parts. Note Brightness Increases or decreases the brightness of note events. Controller Brightness Increases or decreases the brightness of controller events. Edit as Drums when Drum Map is assigned If this is activated, parts on MIDI tracks to which drum maps are assigned are shown with drum note symbols. The parts will automatically open in the Drum Editor on double-click.
Preferences General Default Track Name Width Allows you to determine the default name width for all track types. Auto Track Color Mode This offers you several options for automatically assigning colors to tracks that are added to the project: • Use Default Track Color New tracks get the default event color. • Use Previous Track Color New tracks get the same color as the track above them in the track list.
Preferences MIDI Maximum Undo Steps Allows you to specify the number of undo levels. Run Setup on Create New Project If this is activated, Cubase automatically displays the Project Setup dialog every time you create a new project. This allows you to specify the basic project configuration.
Preferences MIDI Reset on Stop If this is activated, Cubase sends out MIDI Reset messages (including noteoff and controller resets) on stop. Never Reset Chased Controllers If this is activated, controllers are not reset to 0 when you stop playback or move to a new position in the project. Length Adjustment This allows you to enter a length adjustment value in ticks by which the notes that have the same pitch and MIDI channel are adjusted.
Preferences MIDI MIDI - MIDI File Export Options These options allow you to specify what data is included in exported MIDI files. Export Inspector Patch If this is activated, the MIDI patch settings in the Inspector - Bank Select and Program Select (used for selecting sounds in the connected MIDI instrument) are included as MIDI Bank Select and Program Change events in the MIDI file.
Preferences MIDI Export as Type 0 If this is activated, the MIDI file will be of Type 0 (all data on a single track, but on different MIDI channels). If you do not check this option, the MIDI file will be of Type 1 (data on separate tracks). Which type to choose depends on what you want to do with the MIDI file (in which application or sequencer it is to be used). Export Resolution You can specify a MIDI resolution between 24 and 960 for the MIDI file.
Preferences MIDI Import Controller as Automation Tracks If this is activated, MIDI controller events in the MIDI file will be converted to automation data for the MIDI tracks. If this is deactivated, controller data for the MIDI parts will be imported. Import to Left Locator If this is activated, the imported MIDI file will be placed so that it starts at the position of the left locator - otherwise it will start at the beginning of the project.
Preferences MediaBay Import Karaoke Lyrics as Text Activate this to convert karaoke lyrics in the MIDI file to text that can be displayed in the Score Editor. If this is deactivated, lyrics are only shown in the List Editor. MIDI - MIDI Filter This page allows you to prevent certain MIDI messages from being recorded and/or echoed by the MIDI Thru function (thruput).
Preferences Metering Allow Editing in Results List Activate this to edit attributes also in the Results list. Otherwise, editing can only be done in the Attribute Inspector. Show File Extensions in Results List Activate this to display file name extensions in the Results list. Scan Folders only when MediaBay is open Activate this to scan Cubase for media files when the MediaBay window is open. Otherwise, the folders are scanned in the background even when the MediaBay window is closed.
Preferences Record To adjust the levels and colors, activate the channel meter or master meter option and proceed as follows: • To specify the level for a color change, double-click a handle to the right of the meter scale and enter the level (dB) value. Note that for dB values less than 0, you must add a minus sign before the entered number. You can also click a handle and drag it to a specific level. Press [Shift] for more accurate positioning. Alternatively, you can nudge with the Arrow Up/Down keys.
Preferences Record Create Audio Images During Record If this option is activated, Cubase calculates the waveform image and displays it during the actual recording process. NOTE This realtime calculation uses some extra processing power. Record - Audio - Broadcast Wave This page allows you to specify the Description, Author, and Reference text strings that are embedded in recorded Broadcast Wave files.
Preferences Scores (Cubase Pro only) Use the “Retrospective Record Buffer Size” setting to determine how much MIDI data can be captured in the buffer. ASIO Latency Compensation Active by Default This determines the initial state of the “ASIO Latency Compensation” button in the track list for MIDI or instrument tracks. If you record live on a VST instrument, you usually compensate the latency of your audio card by playing too early. In consequence, the timestamps are recorded too early.
Preferences Scores (Cubase Pro only) Double-Click Symbol to get Draw tool When this is activated, you need to double-click with the Object Selection tool in a Palette to activate the Draw tool. When this is deactivated, a single click is enough to bring out the Pencil. Keep Crescendo Symbols “Horizontal” When this is activated, crescendo symbols are never “slanted”.
Preferences Scores (Cubase Pro only) Snap Slurs when dragging When this is activated, the endpoints of slurs will snap to notes when you draw or move them. Unlock Layout when editing single parts If there are more than one part on a track, and you open score edit for one of these parts, the other parts are displayed as “empty space” to preserve the layout. If this option is activated, this empty space is avoided, so you can print this single part without endless rests.
Preferences Transport Scores - Note Layer If you are moving and editing notes, you might accidentally move other objects nearby. To avoid this, you can assign different types of objects to different Note Layers (up to three) and instruct Cubase to lock one or two of these layers, making them unmovable. This page is where you specify to which layer each object type belongs. The actual locking of layers is done on the extended toolbar of the Score Editor.
Preferences Transport Stop after Automatic Punch Out If this is activated, playback will automatically stop after automatic Punch Out (when the Project Cursor reaches the Right Locator and Punch Out is activated on the Transport panel). If the Post-roll value on the Transport panel is set to a value other than zero, playback will continue for the set time before stopping. Stop playback while winding You can use the winding functions during playback.
Preferences VST Locate When Clicked in Empty Space When this is activated, you can move the Project Cursor by clicking anywhere in an “empty” area of the Project window. Transport - Scrub Scrub Volume This lets you set the playback volume for the Scrub function in the Project window and audio editors. Use High Quality Scrub Mode When you activate this option, effects are enabled for scrubbing and the resampling quality is higher. However, scrubbing will be more demanding on the processor.
Preferences VST If Group Channels: Mute Sources as well is activated, muting a group channel will cause all other channels directly routed to it to be muted as well. Pressing mute again will unmute the group channel and all other channels directly routed to it. Channels that were muted prior to the group channel being muted will not remember their mute status and will be unmuted when the group channel is unmuted. NOTE Group Channels: Mute Sources as well does not affect how mute automation is written.
Preferences VST • While Record Running This option switches to input monitoring only during recording. • Tapemachine Style This option emulates standard tapemachine behavior: input monitoring in Stop mode and during recording, but not during playback. NOTE The automatic monitoring options apply when you are monitoring through Cubase, or when you are using ASIO Direct Monitoring.
Preferences VST Suspend VST3 plug-in processing when no audio signals are received When this is activated, VST plug-ins will not consume any CPU power during “silent” passages, i. e. when no audio is passing through them. This can improve system performance noticeably. NOTE Note however that this might lead to situations where you loaded more plug-ins in Stop mode than the system will be able to play back simultaneously.
Preferences VariAudio (Cubase Pro only) Exclusive Device Ports for Monitor Channels When activated, the port assignment for Monitor channels is exclusive. If your scenario does not require you to assign ports to several Monitor channels, it is recommended to activate this option. This way you can make sure that you do not accidentally assign ports to inputs/outputs and Monitor channels at the same time. NOTE This setting is saved with the Control Room presets.
Preferences Video Video Extract Audio on Import Video File If this option is activated and you import a video file, the audio data of the video is automatically extracted and saved as a separate audio clip. Thumbnail Memory Cache Size The value entered here determines how much memory is available for displaying thumbnails. The currently shown image of a video is buffered in the thumbnail memory cache.
Part II - Score Layout and Printing (Cubase Pro only) 1088
How the Score Editor works About this chapter In this chapter you will learn: • How the Score Editor and MIDI data relate. • What Display Quantize is and how it works. Welcome! Welcome to scoring in Cubase! The Score Editor has been created to allow you to get any possible piece of music displayed as a score, complete with all the necessary symbols and formatting.
How the Score Editor works MIDI notes vs. score notes Do not think of the Score Editor as a drawing program, but rather as an “interpreter” of MIDI data. MIDI notes vs. score notes MIDI tracks in Cubase hold MIDI notes and other MIDI data. As you may know, a MIDI note in Cubase is only defined by its position, length, pitch and velocity. This is not nearly enough information to decide how the note is to be displayed in a score.
How the Score Editor works Display Quantize This does not look anything like what you intended. Let’s start with the timing – obviously, you were off at a couple of places (the third, fourth and last note all seem to be a 32nd note late). You can solve this by quantizing the figure, but this would make the passage sound too “stiff”, and not fit in the musical context. To resolve this problem the Score Editor employs something called “Display Quantize”.
How the Score Editor works Display Quantize Choose your Display Quantize values with care As explained above, the Display Quantize value for notes puts a restriction on the smallest note value that can be displayed. Let’s see what happens if we set it to quarter notes: With Display Quantize set to quarter notes Oops, this doesn’t look too good. Well of course it doesn’t! We have now instructed the program that the “smallest” note that occurs in the piece is a quarter note.
How the Score Editor works Display Quantize How did this work? Well, you instructed the program not to display any rests smaller than eighth notes, except when “necessary”. Since the first note appeared on the second sixteenth note position, it was necessary to put a sixteenth rest at the beginning of the figure. All other rests can be hidden by displaying the notes as eighth notes, and were therefore not “necessary”.
How the Score Editor works Entering notes by hand vs. recording notes Permanent alteration of MIDI data As a last resort, you can resize, quantize or move the actual note events. However, this would result in the music not playing back like it originally did. Often it is possible to get the score to look the way you want without altering any MIDI data. Summary This closes our discussion on the basic concept of display quantizing.
The basics About this chapter In this chapter you will learn: • How to open the Score Editor. • How to switch between Page Mode and Edit Mode. • How to set up the page size and margins. • How to hide and show the Symbols Inspector, the toolbar, and the extended toolbar. • How to set up the ruler. • How to set a zoom factor. • How to make initial settings for clef, key, and time signature. • How to transpose instruments. • How to print and export your score. Preparations PROCEDURE 1.
The basics Opening the Score Editor Opening the Score Editor Editing one or several parts To open one or several parts in the Score Editor, select the parts (on the same or on different tracks) and select “Open Score Editor” from the MIDI menu or “Open Selection” from the Scores menu. The default key command for this is [Ctrl]/[Command]-[R]. • You can also select the Score Editor as your default editor, allowing you to open it by double-clicking parts.
The basics The project cursor The project cursor The project cursor appears as a vertical line across the staff. When you open the Score Editor, the view is automatically scrolled so that the project cursor is visible in the window. This means you do not always see the beginning of the edited part when you first open the Score Editor. • Hold down [Alt]/[Option] and [Shift] and click anywhere in the score to move the project cursor there. This is handy when the project cursor is not visible.
The basics Page Mode IIMPORTANT MPORTANT This section of the manual assumes you are in Page Mode. It is mentioned explicitly if something in this text specifically relates to Edit Mode. Changing the Background in Page Mode In Page Mode, you can specify different background textures for the score by selecting an option from the Background Texture pop-up menu on the toolbar. NOTE The background texture only affects the display and is not used for printing.
The basics Changing the zoom factor Changing the zoom factor There are two ways to change the zoom in Page Mode: by setting a zoom factor on the zoom pop-up menu or by using the Zoom tool (magnifying glass). Using the Zoom pop-up menu Above the vertical scrollbar to the right you can find a pop-up menu allowing you to set the zoom factor. By zooming in you can make detailed adjustments to symbols, etc. By zooming out you get a better overview.
The basics The active staff • Hold down a modifier key and right-click with the Zoom tool to open the Zoom context menu, and select the desired Zoom setting. Using the Mouse wheel You can also zoom by holding down [Ctrl]/[Command] and moving the mouse wheel. The mouse position is kept (if possible) when zooming in or out. The active staff One thing to note when you are working with multiple staves is the “active” staff.
The basics Designing your work space 3. If you need to, change the margins by setting the left, right, top and bottom settings. To make the settings permanent, save the project. If you want new projects to always start with certain page setup settings, you can create project templates.
The basics Designing your work space Configuring the window layout PROCEDURE 1. On the toolbar, click the “Set up Window Layout” button. 2. Activate the desired options. The status line The status line features the Mouse Time and the Mouse Note Position displays as well as the Current Chord Display, which helps you identify chords in the Score Editor note display. It can be hidden/displayed using the “Status Line” option in the “Set up Window Layout” pane.
The basics Designing your work space The filter bar This area contains checkboxes determining which indicators, handles, and other non-printed elements are shown in the score. It can be hidden/displayed using the Filters option in the “Set up Window Layout” pane. Showing and hiding elements Some of the elements in the score are not printed, but rather serve as indicators for layout changes, handles, etc. These elements can be hidden or shown in any combination by using the Filters options.
The basics Designing your work space The Cut Notes tool on page 1197 Splitting multi-rests on page 1286 Setting stem direction on page 1178 Manual adjustment of beams on page 1195 The Symbols Inspector This area contains symbol tabs, which are used to add symbols to the score. It can be hidden/displayed using the Symbols option in the “Set up Window Layout” pane.
The basics About the Score Editor context menus • To hide the rulers, select “Off” from the pop-up menu. The Position Info window To help you when positioning objects in the score, the Page Mode has a special Position Info window, in which you can view and adjust object positions numerically, in the unit selected for the ruler. To display the Position Info window, click in the ruler.
The basics Setting clef, key, and time signature • Regular dialogs have an OK button instead of an Apply button. Clicking OK applies the settings you have made and closes the dialog. You cannot continue working in the score (or select other objects) until you close the dialog. NOTE If the “Apply closes Property Windows” option is activated in the Preferences dialog (Scores–Editing page), clicking the Apply button in a non-modal dialog closes the dialog.
The basics Setting clef, key, and time signature 4. Select the Keys tab and click on the symbol for the key that you want to use. 5. Click anywhere in the first bar of the staff to set the key for the track. 6. Open the Time Signature tab of the Inspector and click on the symbol for the time signature value that you want to use. If you cannot find the desired time signature, you can use the Edit Time Signature dialog (see below).
The basics Setting clef, key, and time signature 4. Click OK or press [Return]. IMPORTANT All tracks share the time signature! In other words, when you set the time signature, you do this for all tracks in the project. If you need to enter half a bar somewhere (for example) you have to make a time signature change (e. g. from 4/4 to 2/4 and back again).
The basics Setting clef, key, and time signature Setting the time signature using the signature track/Tempo Track Editor You can also add, edit and delete time signatures using the signature track or the Tempo Track Editor. Please note the following: • The score always shows the time signature events set in the signature track/Tempo Track Editor, regardless of whether or not the Tempo button is activated.
The basics Setting clef, key, and time signature 2. Use the scrollbar to select a clef. IMPORTANT This does not work if Auto Clef is activated on the Staff page of the Score Settings dialog, see below. 3. Repeat the steps above for all staves in the system. On the Staff page of the Score Settings dialog PROCEDURE 1. Click on a staff to make it the active staff. 2. On the Scores menu, select “Settings…” to open the Score Settings dialog.
The basics Setting clef, key, and time signature 4. Click Apply. NOTE You can select another staff in the score and make settings for it without having to close the Score Settings dialog first. RELATED LINKS Displaying single voices or the complete score on page 1096 Inserting and editing clefs, keys, or time signatures on page 1148 In a split system If you have a split system you can set different clefs for the upper and lower staff. PROCEDURE 1. Open the Score Settings dialog on the Staff page. 2.
The basics Setting clef, key, and time signature Therefore, when you want to edit the key, decide if you want the key change to apply to the entire project, or if you want to use different keys on different staves: • If the key set at the beginning of the track is to be used on all staves, and if any subsequent key changes are also valid for all staves, then leave the “Key Changes for the entire Project” option activated.
The basics Setting clef, key, and time signature On the Staff page of the Score Settings dialog PROCEDURE 1. Make the desired staff active, open the Score Settings dialog and select the Staff page. The Clef/Key section on the Staff page 2. Use the right scrollbar in the Clef/Key section to select the desired key. 3. Click Apply. NOTE You can select other staves in the score and make settings for these, without having to close the Score Settings dialog.
The basics Transposing instruments Setting a local key You can also set a different key for the selected staff only. This is useful for instruments like oboe and English horn that change display transpose and therefore also the key. PROCEDURE 1. Make the desired staff active, open the Score Settings dialog and select the Staff page. 2. Activate the “Local Keys” option on the Main subpage in the Clef/Key section.
The basics Printing from the Score Editor Display Transpose in the Edit Key dialog If you want to change the Display Transpose setting in the middle of the score, you can do this by inserting a key change. In the Edit Key dialog, which is opened by double-clicking a key symbol, you can find a Transpose field, in which you can enter a transposition value in semitones. This is useful if you are for example writing a saxophone part and want the player to switch from alto to tenor saxophone.
The basics Exporting pages as image files Exporting pages as image files You can export a section of a page or a complete page in various file formats. This allows you to import your scores into desktop publishing and drawing applications. Selecting a section of a page for exporting If you only want to export a part of a certain page, proceed as follows: PROCEDURE 1. Make sure that you are in Page Mode. 2. Select the Export tool (“Select Export Range”). The pointer turns into a cross-hair cursor. 3.
The basics Working order 6. Specify name and location for the file and click Save. The page of the score is exported and saved as a file. It can now be imported into any program supporting the selected file format. Working order When you prepare a score, we suggest you do things in the following order, since this minimizes the time needed if you make a mistake somewhere and need to redo a step. • Preferably work on copies of recorded tracks.
The basics Force update The last two steps can be performed automatically by the program using the Auto Layout features. • Add layout symbols like endings, page text, etc. • Print or export the score. • Go back and create alternative layouts, e. g. to extract voices.
Transcribing MIDI recordings About this chapter In this chapter you will learn: • How to prepare your parts for score printouts. • How to use the Display Quantize tool to handle “exceptions” in the score. • How to resolve parts that contain mixed notes and triplets. About transcription This chapter assumes you have a MIDI recording that you want to transform into a printable score. However, if the parts are fairly complicated, you probably need to perform some manual editing of the notes.
Transcribing MIDI recordings Preparing parts for score printout 3. Decide how much permanent alteration to the recording you can accept to make the score look good. If the answer is “none”, you should prepare your score from a copy of the track. See the section below. 4. Select all parts (on all tracks) that you want to work on. 5. Open the Score Editor. 6. Activate Page Mode.
Transcribing MIDI recordings Staff settings Staff settings The first thing to do after opening the Score Editor is to make initial staff settings. This is done in the Score Settings dialog, on the Staff page. There are three ways to open the Score Settings dialog: • Make the staff active, open the Scores menu and select “Settings…”. • Double-click on the blue rectangle to the left of the staff.
Transcribing MIDI recordings Inserting Display Quantize changes This single note in the Key Editor is displayed as two tied notes in the Score Editor. • Normally the program adds ties where necessary (if a note stretches over a beat), but not always. For a “modern” notation of syncopated notes (less ties) use the Syncopation feature.
Transcribing MIDI recordings Inserting Display Quantize changes Select the Display Quantize tool to open the Display Quantize dialog. 2. Activate the flags you need and set the quantize values as desired. 3. If you want to restore the settings to the ones used in the Score Settings dialog (Staff page), click the “Restore To Staff” button. 4. Move the mouse over the staff where you want to insert a new Display Quantize value.
Transcribing MIDI recordings The Explode function • If the Display Quantize dialog is already open, you can select any Display Quantize change event, adjust its settings in the dialog and click Apply. • To remove a Display Quantize change, either click its marker to select it and press [Backspace] or [Delete], or click on it with the Erase tool. RELATED LINKS Showing and hiding elements on page 1103 Adding Display Quantize changes Very often, the score is fine except for a few bars somewhere.
Transcribing MIDI recordings Using "Scores Notes To MIDI" 4. Use the options in the bottom section to set up the criteria for the split. Choose from the following options: Option 5. Description Split Note Use this to move all notes below a certain pitch to another track. When this is selected, it is pointless to specify more than 1 new track. Lines To tracks Use this when you want all musical “lines” to be put on one track each.
Transcribing MIDI recordings Using "Scores Notes To MIDI" 4. Select “Scores Notes To MIDI” from the Functions submenu on the Scores menu. The notes are now “converted”. 5. Make whatever adjustments are needed to make the score read as intended. RESULT Now that the notes have the exact lengths and positions that were previously only displayed, you can probably deactivate many of the options on the Staff page of the Score Settings dialog and delete Display Quantize settings, etc.
Entering and editing notes About this chapter In this chapter you will learn: • How to make various settings for how notes are displayed. • How to enter notes. • How to use tools and settings to make the score as legible as possible. • How to set up a split (piano) staff. • How to work with multiple staves. Score settings Before you start entering notes, you need to make some initial staff settings.
Entering and editing notes Score settings Applying settings and selecting other staves To make settings for another staff, simply make it active in the score (by clicking anywhere in the staff or by using the up/down arrow keys on the computer keyboard). NOTE Always click Apply before making another staff active – otherwise your settings are lost! Staff presets When you want to reuse settings made for one track in other tracks, you can save some time by creating a staff preset.
Entering and editing notes Note values and positions Clean Lengths Off No Overlap Off Shuffle Off Key As required Clef As required Auto Clef Activate this if you want the program to select a treble or bass clef automatically. Display Transpose value 0 Options tab settings As is Polyphonic tab settings Staff Mode: Single Tablature tab settings Tablature Mode deactivated NOTE It is very important that you understand how the Display Quantize values for notes and rests interact with the score.
Entering and editing notes Note values and positions Selecting a note value for input You can choose the length for entering notes as follows: • By clicking the note symbols on the extended toolbar. You can select any note value from 1/1 to 1/64 and activate/deactivate the dotted and triplet options by clicking the two buttons to the right. The selected note value is displayed in the Length Quantize field on the toolbar and also reflected by the cursor shape of the Insert Note tool.
Entering and editing notes Note values and positions The Quantize value is set on the toolbar on the “Quantize Presets” pop-up menu: • You can also assign key commands to the different Quantize values. This is done in the Key Commands dialog (in the category “MIDI Quantize”). • Just like in the other MIDI editors, you can use the Quantize Panel to create other Quantize values, irregular grids, etc. However, this is not often used when inputting score notes.
Entering and editing notes Adding and editing notes 2/2 1.1.1.0 1.1.2.40 1.1.3.80 1.1.5.0 1.1.6.40 1.1.7.80 4/4 1.1.1.0 1.1.2.40 1.1.3.80 1.2.1.0 1.2.2.40 1.2.3.80 8/8 1.1.1.0 1.1.2.40 1.2.1.80 1.3.1.0 1.3.2.40 1.4.1.80 Sixteenth note positions 2/2 1.1.1.0 1.1.2.0 1.1.3.0 1.1.4.0 1.1.5.0 1.1.6.0 1.1.7.0 1.1.8.0 4/4 1.1.1.0 1.1.2.0 1.1.3.0 1.1.4.0 1.2.1.0 1.2.2.0 1.2.3.0 1.2.4.0 8/8 1.1.1.0 1.1.2.0 1.2.1.0 1.2.2.0 1.3.1.0 1.3.2.0 1.4.1.0 1.4.2.
Entering and editing notes Adding and editing notes Entering notes with the mouse To add a note to the score, proceed as follows: PROCEDURE 1. Make the staff active. Notes are always inserted on the active staff. 2. Select the desired note value. 3. If you select the note value by clicking on a symbol on the extended toolbar, the Insert Note tool is automatically selected – otherwise select the Insert Note tool on the toolbar or context menu. 4. Select a Quantize value.
Entering and editing notes Adding and editing notes Adding more notes PROCEDURE 1. If you want the next note to have a different length value, select the corresponding note symbol. 2. If you need finer positioning, or if the current value is too fine, change the Quantize value. 3. Move the mouse to the desired position, and click. Notes input at the same position are automatically interpreted as chords, see below.
Entering and editing notes Selecting notes • If two notes on the same position are too close to each other or if you want their “graphical order” in the score reversed, you can do this without affecting playback. • Stem direction and length is normally automatic, but you can set it yourself. • If you are scoring for piano and therefore (or for other reasons) need a split staff, there are special techniques for this.
Entering and editing notes Selecting notes You can drag to select notes on several voices or staves if you wish. 3. Release the mouse button. All notes with note heads inside the rectangle are selected. If you want to deselect one or more of the notes, hold down [Shift] and click on them. Using the keyboard By default, you can step through (and select) the notes in the staff using the left and right arrow keys. If you press [Shift], you can select a series of notes as you step through them.
Entering and editing notes Moving notes Moving notes In the following, you can find descriptions of the various methods to move notes, as well as related features. Moving by dragging PROCEDURE 1. Set the Quantize value. The Quantize value restricts your movement in time. You cannot place notes on positions smaller than the Quantize value. 2. Select the note(s) you want to move. You can select notes across several staves if you wish. 3. Click one of the selected notes and drag it to a new position.
Entering and editing notes Moving notes Moving across staves – the Lock button If you are editing several tracks, you may want to move notes from one staff to another. PROCEDURE 1. Make the desired Quantize settings and select the notes. Make sure to only select notes on the same staff. 2. Make sure that the “L” (Lock) button on the extended toolbar is deactivated.
Entering and editing notes Moving notes About the lock layers When you are moving and editing notes in the score, you might accidentally move other objects nearby. To avoid this, assign different types of objects to different “lock layers” (up to three) and instruct Cubase to “lock” one or two of these layers, making them unmovable. There are two ways to set up which type of object should belong to which lock layer: • Open the Preferences dialog from the File menu and select the Scores–Note Layer page.
Entering and editing notes Duplicating notes • To display all the score objects that are associated with the layout layer, activate the Layout Layer (L) button. • To display all the score objects that are associated with the project layer, activate the Project Layer (P) button. • To get an overview of all layers, activate the Colorize Layer (A) button. This deactivates all other layer buttons and displays the score objects in different colors, where each color stands for a specific type of layer.
Entering and editing notes Editing pitches of individual notes A copy of the notes is made, and put on the clipboard. The original notes remain where they were. IIMPORTANT MPORTANT The clipboard can only hold one set of notes. If you cut or copy and then cut or copy again, the notes copied to the clipboard first are lost. Inserting notes from the clip board to the score Notes that you have put on the clipboard by cutting or copying can be inserted into the score again as follows: PROCEDURE 1.
Entering and editing notes Editing pitches of individual notes Using the Transpose Palette The Transpose Palette on the toolbar contains buttons for transposing the selected notes up or down in steps of one semitone or one octave. • To show the Transpose Palette, right-click the toolbar and activate “Transpose Palette” on the context menu. Using key commands Instead of transposing the note with the mouse, you can assign key commands for this.
Entering and editing notes Changing the length of notes 3. Press a key on your MIDI keyboard. The note takes on the pitch of the key you pressed. The program then selects the next note. 4. To change the pitch of the next selected note, simply press the desired key. In this manner you can change the pitches of as many notes as you wish, by simply pressing the relevant keys. You can also use key commands (by default the left and right arrow key) to pass from one note to the other.
Entering and editing notes Changing the length of notes By using the info line You can also edit length values numerically on the info line. The same rules apply as when changing the pitch of notes. RELATED LINKS Using the info line on page 1142 Lengthening a note by gluing two notes together You can create unusual note length values by gluing notes of the same pitch together. PROCEDURE 1. Insert the notes that you want to glue together (if they do not already exist). 2.
Entering and editing notes Splitting a note in two 2. Locate the “Length” setting. By default, this is set to “Auto”, which means that the note is displayed according to its actual length (and the Display Quantize settings). 3. Double-click in the value field and enter a new length value (displayed in bars, beats, sixteenth notes, and ticks). To set the display length to “Auto” again, scroll the value down to zero. 4. Click Apply and close the dialog.
Entering and editing notes Split (piano) staves Split (piano) staves Setting up the split staff PROCEDURE 1. Make a staff active. 2. Open the Score Settings dialog on the Staff page and select the Polyphonic tab. 3. From the Staff Mode pop-up menu, select Split. 4. Set the Split Point value to a suitable note. All notes below this note value are put on the lower clef, all above are put on the upper clef. Split mode selected.
Entering and editing notes Strategies: Multiple staves 3. Select the Polyphonic tab. 4. Change the Split Point value. 5. Click Apply. RESULT Now, some notes that were previously on the lower staff are on the upper, or vice versa. Strategies: Multiple staves As described above, when you have parts on several tracks selected in the Project window, these are put on one staff each, when you open the Score Editor. This allows you to work on several staves in parallel.
Entering and editing notes Inserting and editing clefs, keys, or time signatures Adding notes This is done just as on a single system. Please note the following: • When you enter a note, use the Mouse Note Position display (in the status line) to determine the pitch. Whether it ends up on the upper or lower staff has nothing to do with where you aim with the mouse. The Split Point setting always decides if a note goes on the upper or lower staff.
Entering and editing notes Inserting and editing clefs, keys, or time signatures 4. Click the mouse button to insert the symbol. IMPORTANT Inserting a symbol at position 1.1.1.0 is the same as changing the staff settings which are stored in the track. Inserting anywhere else adds the change to the part.
Entering and editing notes Deleting notes Moving clefs Clefs inserted into the score have an effect on how notes are displayed. If you for example insert a bass clef in the middle of a treble staff, the staff switches to show bass pitches. Therefore it is very important where you insert the clef. If you want to move the clef graphically, without disturbing the relation between the clef and the notes, proceed as follows: PROCEDURE 1. Select the Layout tool on the toolbar or context menu.
Entering and editing notes Deleting notes Using the Delete menu option or the keyboard PROCEDURE 1. Select the notes that you want to delete. 2. Select Delete from the Edit menu, or press [Delete] or [Backspace] on the computer keyboard.
Staff settings About this chapter In this chapter you will learn: • How to make staff settings. • How to work with staff presets. Staff settings Below follows a run-through of all staff settings, more detailed information about the ones already described and references to other places in the manual for some options. The Staff page has four tabs – here, the Main tab is selected.
Staff settings Making settings Making settings PROCEDURE 1. Open the Score Settings and select the Staff page. 2. With the dialog open, make the desired staff active. Click anywhere in a staff to make it active, or use the up and down arrow keys to step from staff to staff. 3. Select the desired tab and make all necessary settings.
Staff settings Staff names • There are a number of staff presets available, set up to suit various instruments, etc. The presets are accessed from the Presets pop-up menu on the Staff page of the Score Settings dialog or from the staff context menu, opened by right-clicking on the blue rectangle to the left of a staff. Use them as they are, or as starting points for your own settings.
Staff settings Key and clef Note that this is only displayed correctly, if you are in Page Mode and if “Show Staff Names to Left of Staff” is activated in the Score Settings dialog, on the Project–Notation Style subpage (Staff Names category). RELATED LINKS Staff names on page 1265 Key and clef The basic key and clef settings are described in detail in another section (see below). There is also a Lower Staff checkbox which is only used in conjunction with split (piano) staves and polyphonic voicing.
Staff settings Display Quantize and Interpretation Options Display Quantize values Notes and Rests • Generally, the Notes value should be set to a value equal to, or smaller than, the “smallest note position” that you want to be shown in the score. • The Rests value should be set to a value equal to, or smaller than, the smallest note value (length) you want to be displayed for a single note, positioned on a beat.
Staff settings Display Quantize and Interpretation Options 4. Set all the Interpretation Options. These are described in detail below. 5. Examine the score. 6. If necessary, use the Display Quantize tool to insert “exceptions” to the staff settings. RELATED LINKS Inserting Display Quantize changes on page 1122 If your music contains mixed straight notes and triplets PROCEDURE 1. Examine the score and decide if it mainly contains triplets or mainly “straight” notes. 2.
Staff settings Display Quantize and Interpretation Options Off Syncopation is off, with no exceptions. For a “modern” notation of syncopated notes, activate Syncopation. Without and with Syncopation Again, without and with Syncopation Note that you can insert “exceptions” to the Syncopation setting in the Score Settings dialog on the Staff page, by using the Display Quantize tool. You can also create tied notes in various combinations by using the Cut Notes tool.
Staff settings Display Transpose This recording in the Key Editor… …is displayed like this when No Overlap is deactivated… …and like this when No Overlap is activated. You can insert “exceptions” to the No Overlap setting on the Staff page of the Score Settings dialog, by using the Display Quantize tool. IIMPORTANT MPORTANT Please note that there may be situations when neither of these alternatives is ideal. If you run into such a situation, it can probably be resolved by using polyphonic voicing.
Staff settings The Options tab NOTE The Display Transpose setting does not affect playback or the actual pitch of the notes – it only changes how they are displayed and printed. You can also insert Display Transpose changes anywhere in the score, by inserting a key change symbol and using the Transpose setting in the Edit Key dialog.
Staff settings The Options tab No Beams Activate this when you do not want any beaming at all on the staff (for example for vocal scoring). Beam Subgroups Use this when you want sixteenth notes displayed under a beam to be divided into groups of four notes. Without and with Beam Subgroups. 16th Subgroups Use this when you want even smaller subgroups of sixteenth notes. This setting has no effect if Beam Subgroups is deactivated. As above, but with 16th Subgroups activated.
Staff settings The Polyphonic tab Fixed Stems Activate this if you want all note stems to end at the same vertical position. This feature is perhaps most often used when scoring for drums. A drum pattern with Fixed Stem length activated The Up and Down parameters determine which position (relative to the top of the staff) is used for up and down stems, respectively. The graphical display helps you get your settings right.
Polyphonic voicing About this chapter In this chapter you will learn: • How to decide when to use polyphonic voicing. • How to set up voices. • How to automatically convert your score to polyphonic voicing. • How to enter and move notes into voices. Background: Polyphonic voicing Polyphonic voicing allows you to resolve a number of situations impossible to score properly otherwise: • Notes starting at the same position, but with different lengths.
Polyphonic voicing Background: Polyphonic voicing With a split system and with polyphonic voicing How voices are created Cubase allows for up to eight voices. The first thing you do is to set them up. This includes “telling” the program which voices belong to the upper clef and which belong to the lower, how you want rests displayed for each voice, etc. The second thing you do is to move or enter notes into the voices.
Polyphonic voicing Setting up the voices There are also a few important things to note: NOTE When you make a note part of a voice, you are in fact changing its MIDI channel value. However, when you change the voice’s MIDI channel values in the setup dialog, this does not affect the notes’ MIDI channel setting. This can lead to serious confusion, since the relationship between the notes and the voices is affected. It might even make notes disappear (the program warns if this happens).
Polyphonic voicing Setting up the voices 5. To activate a voice, click in its “On” column, so that a checkmark appears. There are four voices on each staff, for a total of eight. If you activate one “upper” voice and one “lower” voice, you get a split (piano) staff. 6. If you have particular reasons to use specific MIDI channels, change the “Chan” settings for the voices. The program automatically sets each voice to a different MIDI channel.
Polyphonic voicing Setting up the voices If the “Some Notes Do Not Belong To Voices…” dialog appears When you click Apply, a warning may appear saying “Some notes do not belong to any voice and may be hidden. Correct these notes?”. This warning appears when the staff contains notes with MIDI channel settings which do not match any of the active voices. If you click the “Correct” button, these notes are moved to active voices. If you click “Ignore”, nothing is changed, and some notes are hidden.
Polyphonic voicing Strategies: How many voices do I need? Strategies: How many voices do I need? Well, it depends • If you are scoring for vocals, you simply need one voice for each voice, so to speak. • If you use voices for resolving the problem of overlapping notes, for example when scoring for piano, you need two voices each time two notes overlap. If three notes overlap, you need three voices.
Polyphonic voicing Checking which voice a note belongs to Voice 3 activated for insertion 6. Insert the notes as usual. 7. To switch to another voice, click the corresponding button. 8. To insert notes into a voice on the other clef, click on that clef and then select a voice using the buttons. RELATED LINKS Adding and editing notes on page 1132 Symbols and voices Later in this manual you will learn about symbols that can be added to the score.
Polyphonic voicing Moving notes between voices 3. On the submenu, select the voice to which you want to move the notes. Only the activated voices are available on the menu. You can also press [Ctrl]/[Command] and click a voice Insert button on the extended toolbar to move the selected notes to the corresponding voice. You can also assign key commands for this in the Score Functions category of the Key Commands dialog on the File menu.
Polyphonic voicing Moving notes between voices Option Description Split Note Use this to move all notes below a certain pitch to another voice. Lines To Tracks Use this when you want all musical “lines” to be put in one voice each. The notes with the highest pitch goes to the first voice, the notes with the second highest pitch goes to the second, and so on. Bass To Lowest Voice When this is activated, the lowest notes always ends up in the lowest voice. 4. Click OK.
Polyphonic voicing Handling rests Handling rests With polyphonic voices, you often get more rest symbols than desired. • If a voice does not need any rests at all, you can deactivate rests separately for this voice on the Polyphonic tab of the Staff page in the Score Settings dialog. • If you only need rests from one voice on a staff, activate Rests–Center for that voice (this is done in the same dialog). If two or more voices have rests, deactivate Rests–Center.
Polyphonic voicing Creating crossed voicings • Insert Display Quantize “exceptions” anywhere in the score, independently for each voice. PROCEDURE 1. Make sure that the “Display Quantize Tool affects all Voices” option is deactivated. 2. Select the voice for which you want to insert a Display Quantize event. This is done by clicking at the corresponding voice button on the extended toolbar as described above, or by selecting a note that belongs to this voice. 3. Select the Display Quantize tool.
Polyphonic voicing Creating crossed voicings 4. Click Apply. The staff is in Polyphonic staff mode, but all notes are still in the same voice. 5. Open the Scores menu and select “Explode” from the Functions submenu. 6. In the dialog that appears, select the “To Polyphonic Voices” option and activate “Lines To Tracks”. Leave the other options off. 7. Click OK. The notes have now been split in two “lines”, each in a separate voice.
Polyphonic voicing Automatic polyphonic voicing – Merge All Staves After making graphical adjustments. RELATED LINKS Graphic moving of notes on page 1198 Manual adjustment of beams on page 1195 Automatic polyphonic voicing – Merge All Staves If you have already created some tracks which look and play back as they should, and you want to combine these into one track with polyphonic voices, there is a special function on the Scores menu for this: PROCEDURE 1.
Polyphonic voicing Converting voices to tracks – Extract Voices Converting voices to tracks – Extract Voices This function does the opposite of “Merge All Staves” – it extracts polyphonic voices from an existing track and creates new tracks, one for each voice. PROCEDURE 1. Open a track containing 2 to 8 polyphonic voices in the Score Editor. 2. Open the Scores menu and select “Extract Voices” from the Functions submenu. A number of new tracks is created and added to the display of the Score Editor.
Additional note and rest formatting About this chapter In this chapter you will learn: • How to control stem direction. • How to control beaming, and create cross-staff beaming. • How to make detailed adjustments to note appearance. • How to perform “graphic moving” of notes. • How to create grace notes. • How to create tuplets. Background: Note stems The direction of stems is governed by five things: • How notes are grouped under beams. • Any manual manipulation of beams.
Additional note and rest formatting Setting stem direction IIMPORTANT MPORTANT If you have activated the “Fixed Stems” option on the Staff page of the Score Settings dialog (Options tab), a lot of the automatic stem length settings are ignored. However, you can still edit the stem length and direction of individual notes.
Additional note and rest formatting Setting stem direction Flipping the stems of notes grouped under a beam PROCEDURE 1. Select any note in the group. 2. Invoke Flip as described above. The entire group is now flipped. Before and after the flip. No matter which note you select, the entire group is flipped. IMPORTANT This does not work if you have adjusted the slanting of the beam by dragging. If you have, you must first reset the beam.
Additional note and rest formatting Stem length • Setting this pop-up menu to Up or Down is the same as using Flip Stems. • Setting this pop-up menu to Auto makes the program set the stem direction automatically. RELATED LINKS Using Flip Stems on page 1178 Stem length Adjusting stem length (Page Mode) PROCEDURE 1. Click on the end of the stem so that a handle appears. 2. If you want to change the lengths of several stems at the same time, hold down [Shift] and select these stems as well. 3.
Additional note and rest formatting Accidentals and enharmonic shift 2. Make sure that the “Stems/Beams” checkbox is activated on the filter bar. Now, below the notes where stems have been changed or beam slant adjusted manually, the word “Stem” appears. 3. Click on the “Stem” text to select it. 4. Press [Backspace] or [Delete] to remove it. Before and after deleting the “Stem” item.
Additional note and rest formatting Accidentals and enharmonic shift 2. In the “Outside the Scale” area, you can decide how five of the most common intervals outside the scale are displayed, as sharps or as flats. IMPORTANT If you activate the “Accidentals for Each Note” option in the Score Settings dialog, on the Project–Notation Style subpage (in the “H.W. Henze Style” category), all notes are displayed with accidentals (even tied notes).
Additional note and rest formatting Changing the note head shape Use this button when you want to enclose the accidental in parentheses. To remove these, select “off”. Changing the note head shape PROCEDURE 1. Select the notes for which you want to change the note head shape. Make sure not to select the stems, only the note heads. 2. Open the Set Note Info dialog.
Additional note and rest formatting Other note details The Set Note Info dialog contains the following settings: Note Head Used for selecting custom note head shapes. Tablature on/off and number Used for creating or editing tablature. This feature can be used for individual notes or together with the automatic tablature function. Bows Used for adding bow up/bow down articulation. When selecting “Off”, bow symbols are not displayed for the selected notes.
Additional note and rest formatting Other note details No Flag/Beam Activate this to hide the flags or beams of the selected notes. Bracket Head When this is activated, notes are displayed with brackets: Bracket Head on and off X Stem (Spoken) When this option is activated for a note, it is displayed with an x across its stem. This is normally used to indicate spoken words. Hide Note Activating this checkbox hides the selected notes. Stem Determines the stem direction.
Additional note and rest formatting Coloring notes Grace notes on page 1200 Cue notes on page 1199 The Cut Notes tool on page 1197 Coloring notes You can assign colors to notes using the Event Colors pop-up menu on the toolbar. PROCEDURE 1. Simply select the notes for which you want to use colors, open the Event Colors pop-up menu on the toolbar and pick a color. Only the note heads are colored. Note that the color is only visible once the notes have been deselected. 2.
Additional note and rest formatting Coloring notes Scores Colors for Additional Meanings If the Preferences dialog (Scores–Colors for Additional Meanings page) you can specify different colors for elements in the score in order to indicate that they are “special” in any way. You can for example choose a color for a “Moved Graphic” or a “Moved Slur”. These objects are colored accordingly when they are moved from their default positions. PROCEDURE 1.
Additional note and rest formatting Copying settings between notes Copying settings between notes If you have made various settings in the Set Note Info dialog for a note, and want to use these settings for other notes as well, there is an easy way to do this: PROCEDURE 1. Set up the first note as desired. This includes the settings in the Set Note Info dialog, but also any note-related symbols such as accents, staccato, articulation, etc. 2.
Additional note and rest formatting Handling beaming Using the Edit Time Signature dialog The time signature for the score naturally affects grouping. But you can control this yourself by creating a composite time signature used only for grouping: PROCEDURE 1. Open the Edit Time Signature dialog by double-clicking the time signature symbol for the staff. 2. Set up the numerator with the grouping you desire. If you for example want eighth notes in two groups of three and one group of two, enter 3+3+2.
Additional note and rest formatting Handling beaming Before and after grouping Double-clicking on the “Grouping” text opens the Grouping dialog, allowing you to adjust the “note value” for the symbols. Grouping quarter notes or larger under a beam (“Brillenbass”) It is also possible to use the grouping feature for notes that are not displayed with beams (quarter notes, half notes, etc.). The result are so called “Brillenbass” symbols, commonly used for indicating repeated accompaniment patterns, etc.
Additional note and rest formatting Handling beaming 6. Click OK to close the dialog. Double-clicking on the “Grouping” text opens the Grouping dialog, allowing you to adjust the “note value” for the symbols. Creating an accelerando/ritardando To create an accelerando/ritardando, proceed as follows: PROCEDURE 1. Select the notes as described above and select “Accelerando” from the Group/Ungroup submenu. A dialog appears. 2. Use the radio buttons to select the desired combination (i. e.
Additional note and rest formatting Handling beaming Removing groups If you have created a group as described above and want to remove it, proceed as follows: PROCEDURE 1. Make sure that the “Grouping” checkbox is activated in the display filter bar. 2. Select a group by clicking on its “Grouping” text. 3. Press [Backspace] or [Delete]. The grouping is removed. If you need to remove all groups from the score, hold down [Shift] and double-click on the first “Grouping” text.
Additional note and rest formatting Handling beaming Before and after using auto grouping in 4/4 In 4/4 you get for example two groups of eighth notes per bar, in 3/4 you get one group per bar, etc. Cross-staff beaming To create a beam that extends from one staff to another, proceed as follows: PROCEDURE 1. Set up a split or polyphonic voicing system or open the Score Editor with more than one track. 2.
Additional note and rest formatting Handling beaming Handling beam groups There are two settings for groups under a beam, Beam Subgroups and 16th Subgroups, both found on the Options tab on the Staff page of the Score Settings dialog. If “Beam Subgroups” is activated, the program displays subgroups after four sixteenth notes under a beam. If you also activate “16th Subgroups”, subgroups appear after only two sixteenths.
Additional note and rest formatting Handling beaming IIMPORTANT MPORTANT These settings are global for all staves. Staff settings In the Score Settings dialog, on the Options tab of the Staff page, you can find a couple of settings for beams as well: Flat Beams Activate this when you do not want any slant at all, no matter the pitch difference of the notes under the beams. No Beams Activate this when you do not want any beams at all.
Additional note and rest formatting About tied notes Mixed stem direction By dragging the beam handles you can put the beam between the note heads: Putting the beam between the notes About tied notes Sometimes, notes are displayed as two or more notes tied together. Generally, there are three different occasions when this happens: • When a note is of an “uneven” length that cannot be displayed without tying together two or more notes of different note values. • When a note crosses a bar line.
Additional note and rest formatting About tied notes Time signature changes By inserting time signature changes, you can change the way notes are cut. This is done in the same way as when you specify how beamed notes are grouped.
Additional note and rest formatting Graphic moving of notes Other options for tied notes Tie direction You can set the direction of the tie manually in the Set Note Info dialog. RELATED LINKS Other note details on page 1183 Flat ties If you prefer ties to be displayed as flat lines, rather than regular “curved” ties, activate the “Flat Ties” option in the Score Settings dialog, on the Project–Notation Style subpage (H.W. Henze Style category).
Additional note and rest formatting Cue notes Move Notes and Context In this mode, other score objects are moved accordingly when you move a note with the Layout tool. Use this mode if you want to correct the display of all score objects within a bar rather than modifying single note positions. By using the computer keyboard You can assign key commands for moving objects graphically.
Additional note and rest formatting Grace notes RELATED LINKS Setting up the voices on page 1165 Polyphonic voicing on page 1163 A quick example Let’s say you have a flute part and want some cue notes for it: PROCEDURE 1. Switch on polyphonic voices and activate voice 1 and voice 2. 2. Set voice 2 to “Auto” stem direction and centered rests. 3. Set up voice 1 to be a cue voice, with hidden rests and stems pointing up. 4. Insert the cue notes into voice 1.
Additional note and rest formatting Grace notes Before and after converting to grace notes. Note that after the conversion, the grace notes nolonger “interfere” with the interpretation of the other notes. NOTE Grace notes are always positioned just before the next note on the staff. If there is no note after a grace note on the staff, the grace notes are hidden! Creating grace notes manually PROCEDURE 1. Locate the note for which you want a grace note. 2. Insert one or more new notes just before it.
Additional note and rest formatting Tuplets Editing a grace note PROCEDURE 1. Select one or several grace notes and open the Set Note Info dialog. 2. Select a note value for the stem. 3. Activate Crossed, if needed. When this is activated, the stem is crossed by a slanted line, to further indicate that the note is a grace note. 4. Click Apply. The settings are applied to the selected notes. 5. Close the dialog. Converting grace notes to normal notes PROCEDURE 1.
Additional note and rest formatting Tuplets • As display quantize. This is the method you use when the tuplet is recorded and plays back as you want it, but is not displayed correctly. Actually, in the first case, you make permanent alterations and set display quantize settings, all in one go. In the second case you only make display quantize settings. With permanent change to MIDI data PROCEDURE 1. Insert as many notes as the tuplet consists of. This would typically be 5, 7 or 9.
Additional note and rest formatting Tuplets RELATED LINKS Tuplet display options on page 1204 Without permanent change to MIDI data PROCEDURE 1. Select the notes in the tuplet group. In this case, the notes play back correctly but are not displayed as a tuplet (yet). 2. Select “Build N-Tuplet…” from the Scores menu to bring up the Tuplets dialog. 3. Make settings in the dialog, as described above. 4. Click Quantize. Now the tuplet is displayed correctly.
Additional note and rest formatting Tuplets Tuplet Brackets There are three possible settings for this option: • None: Tuplets never have brackets. • Always: Tuplets always have brackets. • …by the head: Brackets are shown only when the tuplets are displayed on the “head side”. Display Tuplet values by the Beams When this is activated, tuplets are displayed on the “beam side” of the notes instead of on the note head side.
Working with symbols About this chapter In this chapter you will learn: • What the different types of symbols are. • How to insert and edit symbols. • Details about special symbols. Background: The different layers A score page is always made up of three layers – the note layer, the layout layer and the project layer. When you add symbols, these are inserted into one of these layers, depending on the type of symbol.
Working with symbols Background: The different layers • Note-dependent symbols. Only a few symbols belong to this category, for example the arpeggio lines. In one way, these behave just like grace notes. They always precede a note or chord. If there is no note “after them” on a staff, they disappear. • All other note layer symbols (tempo, dynamics, chords, etc.). Their position is related to the bar. (Whichever way you edit the notes, these symbols remain unaffected.
Working with symbols The Symbols Inspector Why three layers? There are several reasons for this division into layers: • Many of the symbols that are in the layout layer can be stretched to span over several staves, or for other reasons make more sense to think of as belonging to a certain group of tracks. • The layout layer is only one part of the bigger concept of layouts. Layouts allow you to easily extract parts from a full score and perform automatic formatting.
Working with symbols The Symbols Inspector The dialog is divided into two columns. The left column displays the currently visible tabs in the Inspector, and the right column displays the currently hidden tabs. • You can change the current show/hide status by selecting items in one column and using the arrow buttons in the middle of the dialog to move them to the other column. The changes are reflected directly in the editor.
Working with symbols The Symbols Inspector Working with symbol palettes You can open any of the Symbols Inspector sections as separate symbol palettes. Opening tabs as palettes PROCEDURE 1. In the Symbols Inspector, open the desired symbols tab. 2. Right-click on any of the symbols of the tab. Note that you have to right-click on a symbol. Right-clicking on a tab header opens a different context menu instead. 3. Select “Open As Palette” from the context menu. The selected tab is shown as palette.
Working with symbols The Symbols Inspector • Clefs etc. • Note Symbols • Dynamics • Line/Trill. Note that the arpeggios, hand indication and strum symbols are all “note-dependent”! • Other • Form Symbols. These symbols can be selected for the note layer, the layout layer, and the project layer. • Words • User Symbols When you place the mouse pointer on a symbol, a tooltip shows you information about the function.
Working with symbols Important! – Symbols, staves, and voices Important! – Symbols, staves, and voices Most symbols belong to a staff when inserted. Only note symbols, slurs and ties are an exception. They belong to notes and therefore to voices. It is extremely important that the correct staff is active when you insert a symbol (if you are editing multiple staves).
Working with symbols Adding symbols to the score • Normally, the Draw tool is automatically selected when you click on a symbol in the Inspector. However, if the “Double-Click Symbol to get Draw Tool” option is activated in the Preferences dialog (Scores–Editing page), you need to double-click the symbol to get the Draw tool. • On the same page of the Preferences dialog, you can find an option called “Display Object Selection tool after Inserting Symbol”.
Working with symbols Adding symbols to the score Adding a symbol to several notes using the Draw tool You might for example want to add a staccato symbol to all notes within a few measures. PROCEDURE 1. In the Symbols Inspector, open the Note Symbols tab. 2. Select the notes to which you want to apply the symbol. 3. In the Symbols Inspector, click on the desired symbol. 4. Click on one of the notes. The symbol is added to each selected note, at a predefined distance.
Working with symbols Adding symbols to the score RELATED LINKS Changing length, size, and shape on page 1231 About note-dependent symbols Note-dependent symbols like arpeggios and strum directions must be put in front of a note or they belong to the following note instead (if there is no following note, the symbols are not inserted at all). Adding text There are special methods for working with text.
Working with symbols Adding symbols to the score RELATED LINKS Graphic moving of notes on page 1198 Drawing the slur/tie PROCEDURE 1. Set the Quantize value depending on the positions of the two notes that the slur/tie should span. For example, if one of them is at a quarter note position and the other at an eighth note position, set Quantize to 1/8 note or a smaller note value. 2. Click on the correct slur/tie in the Symbols Inspector, so that the Draw tool is selected. 3.
Working with symbols Adding symbols to the score The Bezier slur The Bezier slur is a special slur symbol, found on the Dynamics symbol tab. Unlike the regular slur, this symbol is made up of a bezier curve, allowing you to create more advanced curve shapes. To add a Bezier slur, click on the symbol in the Inspector so that the Draw tool is selected, and click or drag in the score. Clicking creates a Bezier slur of the default length and shape, while dragging creates a straight line.
Working with symbols Adding symbols to the score Creating trills If you have recorded or entered a trill, Cubase can help you display this properly: PROCEDURE 1. Select the notes that make up the trill. 2. Right-click on one of the notes and select “Build Trill…” from the context menu. 3. Select an option from the dialog that appears. The radio buttons determine how the trill should look.
Working with symbols Adding symbols to the score • To insert the keyboard symbol, select it from the Inspector, click with the Draw tool at the desired position and drag a box to specify the approximate size of the keyboard. • After you have inserted the keyboard symbol, you can drag its edges to resize it vertically or horizontally.
Working with symbols Adding symbols to the score To insert a guitar symbol not present in the guitar library, proceed as follows: PROCEDURE 1. Open the other tab. 2. Click on the guitar chord symbol, so that the Draw tool is selected. 3. Click in the score, at the position where you want the symbol to appear. The Guitar Symbol dialog appears. • To put a black dot on any fret and string, click on it. • To remove it, click again.
Working with symbols Adding symbols to the score RELATED LINKS Using the guitar library on page 1221 Using the guitar library The above method is fine if you only want to add a few chord symbols to your score. If you need a lot of chord symbols, or if you are using chord symbols in a lot of different scores, you can gather all your chord symbols in a “guitar library” instead. This way you do not have to recreate the same chord symbol over and over again. Defining chord symbols PROCEDURE 1.
Working with symbols Adding symbols to the score • To load a guitar library file, select “Load Current Pane…” from the Functions pop-up menu. In the file dialog that appears, locate and open the desired guitar library file.
Working with symbols Adding symbols to the score 2. Click the Image File button to select the Draw tool. Click in the score at the position where you want to insert the file. A file dialog opens. 3. Locate and select the image file you want to insert. The lower section of the Import dialog contains the following settings: • To copy the referenced file into the Project folder, activate the “Copy to Project folder” option. • • 4.
Working with symbols Selecting symbols • Any editing you perform to layout symbols and texts is automatically duplicated in the other tracks. • The display of layout symbols and texts for different tracks can be deactivated at any time. • Layout symbols and texts can be copied between layouts, by using the Get Form function on the Functions pop-up menu on the Layout page of the Score Settings dialog.
Working with symbols Selecting symbols A selected crescendo An exception to this are the slurs and ties which can be selected by clicking on the end points or by drawing a selection rectangle. Using the lock layers Sometimes it can be very hard to click on a symbol or other object in the score without accidentally selecting other symbols nearby.
Working with symbols Moving and duplicating symbols Locking a layer To “lock” a layer, click on its lock layer button. In this figure, layer 2 is locked. Event types assigned to layer 2 cannot be selected, moved, or deleted. Visual indication of the layers Objects belonging to locked note layers are “grayed out” in the score. This makes it very easy to find out which object belongs to which layer – perhaps especially useful for the layout and project layers.
Working with symbols Moving and duplicating symbols • Slurs and ties are an exception, as they can only be moved by first dragging one handle and then the other. However, if you use the Layout tool to move the notes they belong to, or if you change the measure width, they are adjusted automatically. • Duplicating is done by moving with [Alt]/[Option] pressed, as always in Cubase. Slurs, ties, and bar lines cannot be duplicated with this method.
Working with symbols Moving and duplicating symbols The window contains the following settings and values: Measure in Click this label to change units for the Position Info window. You can toggle between Inch, cm, and pt. This choice also affects the units used in the rulers. Abs. Pos./Rel. Pos Click this label to select whether X-Y position values are “absolute” (referring to the upper left corner of the current page) or “relative” (referring to the upper left corner of the active staff).
Working with symbols Moving and duplicating symbols When this is activated, you cannot move symbols across staves by dragging. Moving by using the computer keyboard In the Key Commands dialog, you can assign key commands for moving symbols, notes, or rests graphically. The commands are found in the “Nudge” category and are called “Graphical Left”, “Graphical Right”, “Graphical Top”, and “Graphical Bottom”.
Working with symbols Moving and duplicating symbols 5. If you have several subsequent bars to which you want to copy symbols, set the “Repeats” value to this number of bars. If you only want to copy symbols from one bar to another, make sure that “Repeats” is set to 1. This option is only available for copying, not for moving. 6. If you want this dialog to appear every time you perform the move/copy operation, activate “Show Dialog”. 7. Click OK to close the dialog. 8.
Working with symbols Changing length, size, and shape Moving note symbols Note symbols, slurs and ties all have “default positions”. This determines the vertical distance between the note head(s) and the symbol. • You can manually adjust the vertical positions of individual symbols, but if you move or transpose their notes, the symbols are automatically reset to their default positions. This also ensures that note symbols and slurs are positioned sensibly when you change the Display Transpose settings.
Working with symbols Changing length, size, and shape The size of the symbol changes accordingly. Altering the shape and direction of slurs and ties This section describes how to alter the “regular” slur and tie symbols. There are two types of slurs and ties in the Symbols Inspector. The up/down variation of each actually represent the same symbol but with different initial direction.
Working with symbols Deleting symbols • To change the default shape and spacing of slurs and ties, open the Score Settings dialog on the Project–Spacings subpage and edit the “Slur’s Start & End Distance from Note Head” and “Slur’s Middle Distance from Note Head” settings. These settings are used for all new slurs and ties you create, as well as for all existing slurs for which you have not manually changed the shape.
Working with symbols Symbol details IMPORTANT Note symbols like staccato and accents can only be aligned horizontally. The “Dynamics” option is a special function for aligning dynamic symbols. RELATED LINKS Aligning dynamics on page 1237 Symbol details This section further describes some of the symbol tabs. The Quick Staff Setup tab This tab combines the basic settings for Display Quantize, staff mode, as well as staff presets for quick access.
Working with symbols Symbol details The “Clefs etc.” tab Clefs You can insert a clef symbol anywhere in the score. This has an effect on the notes, just as the first clef on the staff has. And just as with the first clef, the type is selected from the Edit Clef dialog that appears when you select the Clef symbol and click in the Score. When you double-click on an existing clef, the Edit Clef dialog appears again, allowing you to change the type.
Working with symbols Symbol details Use this feature to step between pppp, pp, p, mp, mf, f, ff, fff, and ffff. • You can also right-click on a symbol and select “One up” or “One down” on the context menu. As above, these commands can be used to step between pppp, pp, p, mp, mf, f, ff, fff, and ffff. • To change the size of a dynamic symbol, right-click on it and in the context menu, select an option from the Size submenu.
Working with symbols Symbol details Aligning dynamics There is a special command for aligning dynamic symbols (including crescendos) horizontally. Unlike the regular align function, aligning dynamics takes the “baseline” of the dynamic letters into account, aligning them as text rather than as graphic symbols. PROCEDURE 1. Select the dynamic symbols that you want to align, e. g. pp and a crescendo. 2. Right-click on a selected symbol and select the “Align” function on the context menu.
Working with symbols Symbol details • In the Score Settings dialog (Project page–Notation Style subpage) you can specify globally how tuplets are displayed. You can also select a font and size for the tuplet numbers in the Font Settings subpage. • You can also right-click on the tuplet group symbol and select the “Extend (+)” or “Reduce (-)” command to extend it to the next chord or to reduce it. Vertical symbols The vertical symbols in the Line/Trill tab are “note-dependent”.
Working with symbols Symbol details A pedal down/up symbol combination can be displayed as “Two Symbols”, ““Ped.” + Bracket” or as “Bracket only”. Just right-click on the pedal symbol and choose an option from the context menu. You can also set this in the Score Settings dialog, on the Project–Notation Style subpage (Miscellaneous category).
Working with symbols Symbol details The Form Symbols tab Rehearsal marks The following types of rehearsal marks are available: numbers and letters. When you place the first of these in the score, it is labeled 1 or A (depending on which you choose on the tab), the second is then automatically labeled 2 or B, the next 3 or C, etc. If you delete one, the labeling of the others is shifted automatically so that they always make up a complete series of numbers or letters.
Working with symbols Symbol details • To have these symbols actually affect playback, insert them on the Project layer and use the Arranger mode. RELATED LINKS Settings for other fixed text elements on page 1268 Scores and the Arranger mode on page 1314 Endings There are two types of endings, closed (“1”) and open (“2”). Both can be stretched to any length or height by dragging the handles. You can also double-click or right-click the existing number and enter any text you like.
Working with symbols Symbol details User Symbols The User Symbols tab lets you create your own graphic symbols and use these in the score. Creating a user symbol Initially, the User Symbols tab is empty. To create symbols you use the User Symbols editor: PROCEDURE 1. Double-click on the empty symbol field on the tab. The User Symbols editor opens. You can also right-click on an empty symbol field and select “Edit…” to open the same dialog. 2.
Working with symbols Symbol details • • You can edit existing symbols at any time by selecting them to the left and using the tools and functions. Any changes you make are automatically stored in the User Symbols tab for the project. You can also export symbols for use in other projects, see below. To insert a user symbol into the score, click on it on the tab and then click at the desired position in the score.
Working with symbols Symbol details Set Color of Frame When this is selected, the Color pop-up menu is used to select the color for the object frame. Set Color of Fill When this is selected, the Color pop-up menu is used to select the fill color for objects (if Fill is selected). Fill Click this if you want the object to be filled – you can then select a Fill Color for it from the Color pop-up menu. Don’t Fill Click this if you do not want the object to be filled.
Working with symbols Symbol details Import User Symbols… Loads settings for a complete tab from disk. Note that this replaces the current settings. Export/Import Symbol… Lets you save or load individual symbols to/from disk. Importing a symbol replaces the current symbol on the tab. Delete Deletes the selected object(s). Select All Selects all objects in the current symbol. Transform – Scale Symbol Lets you scale (resize) the selected object by specifying a percentage.
Working with chords About this chapter In this chapter you will learn: • How to enter chord symbols manually and automatically using the “Make Chord Symbols” feature. • Which settings can be made for chord symbols. Inserting chord symbols To insert chord symbols in the score, you can insert them manually by using the Chord Symbol button in the Inspector. You can also let Cubase analyze an existing recording and create the chord symbols.
Working with chords Inserting chord symbols 4. In the “Chord Type” field, specify a chord type. You can either enter it directly (for example, by typing a “7”) or select an option from the pop-up menu (click the arrow button to open it). 5. If you wish, specify a tension in the Tension field. Again, this can be done by typing or by using the pop-up menu. However, there are some special display options which you can only get by typing (see the table below).
Working with chords Inserting chord symbols Using Make Chord Symbols If you have already recorded the chords for a project, Cubase can analyze them and create chord symbols: PROCEDURE 1. Open the recording in the Score Editor. If you want the chords to be inserted on another track, you can create an empty part on that track and open it along with the recording. 2. If you like, make display settings for the chords.
Working with chords Global chord settings All selected notes on all staves are taken into consideration. Whenever there is any change on any staff, the notes are reinterpreted and a new chord symbol is added. This means you should probably avoid having the melody track in the Score Editor when you use Make Chord Symbols, or you get a lot more chords than you expect, possibly with strange tensions. In addition to the above, the Quantize value is used.
Working with chords Global chord settings Chord Symbols Chord Symbols Font • Use the four size value fields to select sizes for the root, the type, the tension, and the bass of a chord. You can type in values or use the pop-up menus. Normally, you would want the “Root” size to be the largest and the “Tension” size to be the smallest. Options • If you want the root note to be aligned with the bass note, so that they are both displayed at the same vertical position, activate “Align Bass Note”.
Working with text About this chapter In this chapter you will learn: • Which different types of text are available. • How to enter and edit text. • How to set font, size, and style. • How to enter lyrics. Adding and editing text symbols This section describes the general procedure for adding and editing text symbols. There are several different types of text symbols, but the basic procedures are the same (except for block text symbols and page text symbols).
Working with text Adding and editing text symbols 5. Click the text symbol and click in the score at the position where you want the text to appear. If you are adding lyrics, you should click above or below a note (lyrics are centered around each note and positioned vertically to where you clicked). 6. Enter the text in the text box that appears. You can use [Backspace] to delete letters, and move the cursor with the arrow keys. 7. When you are done, press [Return]. The text appears.
Working with text Adding and editing text symbols In the Score Settings dialog (Text tab), you can find two settings that determine the appearance of the melisma lines for text symbols: • The Melisma Style pop-up menu is where you specify whether the line is solid or dotted. • The Melisma End pop-up menu allows you to choose whether the end of the line is plain, has an arrow, or forms a “bracket” up or down. Making space Dragging staves is a way to edit distances within staves or between grand staves.
Working with text Adding and editing text symbols 3. Select a font from the Font pop-up menu. How many and which fonts appear depends on what typefaces you have installed on your computer. IMPORTANT For regular text you should avoid the “Steinberg” fonts. These are the fonts Cubase uses for all scoring symbols, etc. 4. Select a text size from the Size pop-up menu (or enter one manually in the text field). 5. You can also add one or several font options using the checkboxes and pop-up menus. 6.
Working with text Adding and editing text symbols Text attribute sets A text attribute set can be seen as a “preset” containing all font, size, and style settings. By creating text attribute sets for the settings you use most often, you can save a lot of time. Creating a text attribute set PROCEDURE 1. Open the Score Settings dialog on the Project page and select the Font Settings subpage. 2. Open the Attribute Sets tab. 3. On the Font Set pop-up menu, select the “Empty” set. 4.
Working with text Different types of text Editing text attribute sets If you edit the settings in a text attribute set, all texts using this particular set are affected. This is very practical, since it allows you to use the same number of “generic” sets for all your projects (for titles, comments, lyrics, etc.), and simply change the fonts, sizes, etc. for a different project if necessary. This also makes it easier to move projects between computers (which may not have the same fonts installed).
Working with text Different types of text Similarly, you can copy selected text by using the “Text To Clipboard” option from the context menu. Lyrics This type of text is inserted by selecting Lyrics on the Other symbol tab. You can insert this type of text only on note layers. When you insert lyrics, you should click below or above the note the syllable belongs to. The text then appears horizontally centered around the note and vertically positioned to where you clicked.
Working with text Different types of text – if this is not what you want, activate the “Don’t Center Hyphens” option in the Score Settings dialog, on the Project–Notation Style subpage (Lyrics category). Lyrics and measure widths When you first enter lyrics, the result may look crammed, since the words take up more space than the notes (the lyrics are also selected just after entering the last word, which makes them look a bit odd when overlapping).
Working with text Different types of text RELATED LINKS Entering notes into voices on page 1168 Moving lyrics If you want to move the lyrics up or down, for example to make room for a second verse, proceed as follows: PROCEDURE 1. Hold down [Shift] and double-click on the first word in the lyrics. All lyric “blocks” are selected. 2. Drag one of the lyric blocks up or down. All selected lyric blocks are moved accordingly.
Working with text Different types of text 4. Click Open. The text in the file is inserted into the score. Options for inserted Block Text Right-clicking on inserted Block Text brings up a pop-up menu with the following options: Settings Brings up the RTF Settings dialog. You can also open this by double-clicking the Block Text. Import Text Imports text from a text file or RTF file. The imported text replaces any text currently inserted at the position of the Block Text.
Working with text Different types of text Word wrap When this is activated, line breaks are used to fit the text in the Block Text symbol. Replace mode In this mode, the Block Text box is opaque, covering what’s under it. Trans mode In this mode, the Block Text box is transparent. Lay Text The Lay Text symbol allows you to insert layout text for multiple staves. This is available only on the layout layer.
Working with text Different types of text Entering page text PROCEDURE 1. Open the Other tab of the Symbols Inspector. 2. Click the Page Text symbol and click in the score. It does not matter where you click – the positioning is specified in the Page Text dialog. 3. Enter the text that you want displayed in the field at the top of the dialog. You can use special characters to add “variables” such as page numbers – see below. 4. Adjust the positioning settings for the text. 5.
Working with text Different types of text %p The current page number. %l (lower case L) The long staff name. %s The short staff name. %r The name of the project. For example, if you enter the text “%l, %r, Page %p”, these variables might be shown as “1st Violin, Quartet No.2, Page 12” in the score. Using the Score Settings (Text page) In the Score Settings dialog on the Text page, you can find a number of text-related settings.
Working with text Text functions • When you select text in the score and open the Selection tab, the selected words are shown in the text field. You can now change the wording of the text, and use the text format options to the left to change the appearance of the selected text. When you are done, click Apply to apply your changes to the selected text in the score.
Working with text Text functions Inserting a word You insert words from the Words tab as you would insert any regular symbol, by selecting the appropriate word and clicking in the score. However, you can edit the word after inserting it, just as with text inserted by typing. Find and replace This function allows you to replace all occurrences of a certain word or group of words, with another word or group of words.
Working with text Text functions • You specify a long and short staff name in the Score Settings dialog, on the Staff page (Main tab). These are used if you do not use the “From Tracks” option on the Layout page of the Score Settings dialog. The long name is displayed for the first system only, and the short name for the following systems. If you want a name at the top of the page only, leave the “Short” name field empty.
Working with text Text functions General settings PROCEDURE 1. Open the Score Settings dialog on the Project page and select the Notation Style subpage. 2. Scroll down the list to the “Bar Numbers” category. 3. Use the “Show every” setting to specify how often bar numbers are shown. The options are “First Bar” (bar numbers shown for the first bar on each staff), “Off” (no bar numbers shown) and any number. Click in the State column and use the mouse wheel to select the desired option. 4.
Working with text Text functions Offsetting bar numbers If you double-click on a bar number, a dialog appears, allowing you to skip a number of bars in the otherwise continuous bar numbering. This is used for example when a section repeats. Say, you have a repeat of bar 7 and 8, and want the first bar after the repeat to have the number 11, not 9. To achieve this, you double-click on the “9” and insert an offset of “2”.
Working with layouts About this chapter In this chapter you will learn: • What layouts are and what they contain. • How to create layouts. • How to use layouts for opening combinations of tracks. • How to apply, load, save and delete layouts. • How to import and export layouts. • An example of how layouts can be used. Background: Layouts Layouts can be viewed as “presets” containing settings for the layout layer: staff spacing, bar lines, layout symbols, etc.
Working with layouts Creating a layout • All settings on the Layout page of the Score Settings dialog. • The vertical spacing of the staves. • Bar line spacing. • Broken bar lines. NOTE Note that Project symbols, bar line types and bar number offsets are part of the Project layer, and appear in all layouts. RELATED LINKS The available symbols on page 1210 How layouts are stored Layouts are created automatically when you edit a single track or a combination of tracks.
Working with layouts Layout operations Layout operations The Score Settings dialog contains a Layout page, where you can make settings for the different layouts. To the left of the dialog, all existing layouts in the project are listed (this is the same list as in the Open Layout dialog, see above). The layout currently used is highlighted in the list. Opening the tracks in a layout To select another combination of tracks for editing, select the corresponding layout in the list.
Working with layouts Using layouts – an example • To remove all layouts for which there no longer are track combinations, select “Clean Up” on the Functions pop-up menu. Importing and exporting layouts By selecting a layout and selecting “Export” or “Import” from the Functions pop-up menu below the list, you can export or import a Layout. Note that all Staff settings are taken into account, when exporting or importing a layout.
Working with layouts Marker Track to Form Marker Track to Form If you have created markers in the Project window which denote the start of each new “section” in your music (verse, bridge, chorus, etc.), you can automatically transfer these markers into the current layout. PROCEDURE 1. Open the Scores menu, open the Advanced Layout submenu and select “Marker Track to Form”. Now, rehearsal marks and double bar lines are inserted in the score, at the position of each marker. 2.
Working with MusicXML Introduction MusicXML is a music notation format developed by Recordare LLC in 2000 based primarily on two academic music formats. It allows the representation of scores in the current symbolic representation of western music notation, used since the 17th century. With Cubase you can now import and export MusicXML files created with version 1.1. This makes it possible to share and exchange sheet music with people who are using score writing programs such as Finale and Sibelius.
Working with MusicXML Introduction Is MusicXML better than MIDI? The following sections inform you about the advantages of MusicXML and MIDI regarding note representation and sound. Advantages of MusicXML MIDI tracks hold MIDI notes and other MIDI data. A MIDI note in Cubase is only defined by its position, length, pitch and velocity. This is not enough to decide how the note will be displayed in a score.
Working with MusicXML Importing and exporting MusicXML files Importing and exporting MusicXML files Cubase can import and export MusicXML files, which makes it possible to transfer musical scores to and from applications that support this file format. However, there are some restrictions concerning the parameters supported by Cubase.
Working with MusicXML Importing and exporting MusicXML files Importing and exporting Symbols Parameter Export Import Keys Yes Yes Clefs Yes Yes Time Signature Yes Yes Dynamics Yes Yes Ornaments Yes / incomplete Yes / incomplete Articulations Yes / incomplete Yes / incomplete Technicals Yes / incomplete Yes / incomplete Lyrics Yes Yes Chord Symbols Yes Yes Damper Pedal Yes Yes Dynamics Yes Yes Rehearsals Yes Yes Text Yes Yes Layout Text Yes N.A.
Working with MusicXML Importing and exporting MusicXML files Importing MusicXML files PROCEDURE 1. Open the File menu and open the Import submenu. 2. On the submenu, select “MusicXML…”. 3. In the file dialog that opens, locate and select the MusicXML file and click “Open”. 4. Another file dialog opens in which you can select the project folder for the new project. Select an existing project folder or create a new one by clicking “Create” and entering a name in the dialog. 5.
Designing your score: additional techniques About this chapter In this chapter you will learn: • How to change the staff size. • How to create multi-rests. • How to add and edit bar lines. • How to create upbeats. • How to set measure spacing and the number of bars across the page. • How to control staff and grand staff spacing. • How to use the Auto Layout dialog. • How to use the Reset Layout function. • How to break bar lines.
Designing your score: additional techniques Layout settings The track list The track list lists the tracks included in the layout and allows you to make the following settings: Brackets These two columns allow you to add braces or brackets, encompassing any number of staves in the layout. T This is relevant if the “Modern Time Sign.” option is activated to the right. In that case, you use this column to specify for which tracks the time signature is shown – see below.
Designing your score: additional techniques Layout settings Equal Spacing Activate this option when you want a note to take up space according to its note value. When Equal Spacing is activated, two sixteenth notes take up as much space as one eighth note, for example. Size Changes the size of all staves. RELATED LINKS Staff size on page 1282 Multi-Rests Whenever more than one-bar rests occur, the program can replace these with a multi-rest symbol.
Designing your score: additional techniques Staff size • If you prefer to display the score in a more modern way, check out the other options on the Notation Style subpage. For descriptions of the options use the Help button in the dialog. Staff size You can set the staff size as a percentage value of the normal size. For one staff To set the staff size for one staff, proceed as follows: PROCEDURE 1. Make sure that the staff you want to edit is active. 2.
Designing your score: additional techniques Hiding/showing objects Hiding/showing objects Any object on a page can be hidden, including notes, rests, symbols, clefs, bar lines, even entire staves. This can be useful in the following situations: Printing scales If you want to create scale examples, enter the notes and hide time signatures, bar lines and other unwanted objects. A scale created with hidden bar lines, time signatures, etc.
Designing your score: additional techniques Hiding/showing objects Hiding in the current layout only If you want the hiding to be “local” to the current layout, hold down [Ctrl]/[Command] when selecting “Hide/Show” as described above. MPORTANT IIMPORTANT This is not possible when hiding notes, only other symbols. NOTE You can also move hidden objects to the layout by right-clicking the “Hide” marker and selecting “Move to Layout”.
Designing your score: additional techniques Coloring notes Showing a hidden note While all hidden notes can be made visible by ticking the Hidden Notes checkbox on the filter bar, you may want to make some of them “permanently” visible again: PROCEDURE 1. Activate the Hidden Notes checkbox on the filter bar. 2. Select the notes that you want to “un-hide”. In the Preferences dialog (Scores–Colors for Additional Meanings) you can set the color for hidden notes. 3. Double-click one of the notes. 4.
Designing your score: additional techniques Multiple rests Splitting multi-rests To divide one long multiple rest into several shorter ones, proceed as follows: PROCEDURE 1. Double-click on the multi-rest symbol. The Split Multi-Rest dialog appears: 2. In the dialog, enter the bar number where you want the first split. 3. Click OK. If you need more splits, double-click on any multi-rest symbol and proceed as above.
Designing your score: additional techniques Editing existing bar lines • On the Font Settings subpage, you can select a font for the multi-rest numbers (select “Multi-Rests” in the “Font For” pop-up menu and make the desired settings). Editing existing bar lines For each bar line, you can choose whether you want a regular, single bar line, a double bar line, a repeat sign, etc.: PROCEDURE 1. Double-click on the bar line for which you want to edit the settings.
Designing your score: additional techniques Creating upbeats By using the Pickup Bar feature With this method, the upbeat actually contains exactly the number of beats displayed. That is, if you have an upbeat of one beat, your project starts with one bar in 1/4 time. PROCEDURE 1. Change the time signature of the first bar to the length of the upbeat. 2. Insert a time signature of the correct kind (the time signature used throughout the project) in the second bar.
Designing your score: additional techniques Setting the number of bars across the page By hiding rests With this method, the first bar actually gets the same time signature as the following bars – it only looks like an upbeat bar: PROCEDURE 1. Enter the notes in the upbeat into the first bar. The first bar before making any adjustments 2. Hide the rests that precede the notes. 3. Drag the bar line between measure one and two to adjust the width of the bar.
Designing your score: additional techniques Setting the number of bars across the page Manually In Page Mode, you have full control over the number of bars appearing across the page, by using the Number of Bars dialog or the tools. NOTE If you want to use the “Max. number of Bars” option in the Auto Layout dialog, you should do this before you adjust the number of bars manually. RELATED LINKS Auto Layout on page 1297 Using the Number of Bars dialog PROCEDURE 1.
Designing your score: additional techniques Moving bar lines • To bring the bar back up to the previous staff, use the Glue tool to click on the last bar line on the upper of the two staves. This in fact moves all measures in the lower staff to the upper staff. Moving bar lines The following operations can be made using the regular Object Selection tool or the Layout tool. Moving a bar line If you drag a bar line to the left or right, the surrounding bars are adjusted proportionally.
Designing your score: additional techniques Moving bar lines Making an indent on one line • To create an indent, simply drag the first or last bar line on a staff. The sizes of all measures are adjusted proportionally. Before and after dragging the first bar line on the first staff Making indents on several lines If you hold down [Alt]/[Option] and drag the first or last bar line in a system, all following systems get the same indent.
Designing your score: additional techniques Dragging staves Dragging staves For the following operations, you can use the Object Selection tool or the Layout tool. NOTE Dragging staves can only be done in Page Mode. Adding space between two grand staves PROCEDURE 1. Locate the first staff in the lower of the two systems that you want to spread apart. 2. Click just to the left of the first bar line and keep the mouse button pressed. The entire staff is selected. 3.
Designing your score: additional techniques Dragging staves Setting the same distance between all grand staves PROCEDURE 1. Hold down [Alt]/[Option] and drag the first staff of the second system, until you have reached the desired distance between this and the first system. 2. Release the mouse button. The distances between all the systems are adjusted accordingly. IMPORTANT This operation affects the system you drag and all following systems.
Designing your score: additional techniques Dragging staves Moving one staff only You may want to move one staff without affecting any other staff in any way: PROCEDURE 1. Hold down [Ctrl]/[Command]. 2. Drag any staff as described above. Moving staves between pages By using the “Move to Next/Previous Page” commands on the Staff context menu, you can quickly edit the page breaks. Moving staves to the next page PROCEDURE 1. Locate and activate the staff you want to move to the top of the next page.
Designing your score: additional techniques Adding brackets and braces Adding brackets and braces Brackets and braces are added on the Layout page of the Score Settings dialog. The settings you make are specific for the current layout, i. e. you can have different brackets or braces set up for different track configurations. PROCEDURE 1. Open the Score Settings and select the Layout page. In the track list, you can find columns for braces ( { ) and brackets ( [ ). 2.
Designing your score: additional techniques Auto Layout 2. To edit a chord symbol, double-click it. NOTE Moving chord symbols in the staff only affects the display. The position of the chords on the chord track remains unaffected. RELATED LINKS Layout settings on page 1279 Chord Functions on page 814 Auto Layout This item on the Scores menu brings up a dialog with several options.
Designing your score: additional techniques Auto Layout Move Bars This option looks at the currently active grand staff, and attempts to adjust the measure widths, so that all notes and symbols get as much room as possible. The number of bars on the staff is not affected. • You can perform this function for several staves in one go, by dragging a selection rectangle over their left edges, and then selecting Move Bars.
Designing your score: additional techniques Auto Layout Move Bars and Staves This is a combination of “Move Bars”, “Move Staves”, and “All Pages”, plus automatic calculation of the number of bars across the page – the function tries to optimize the number of bars across the page for each staff (with the maximum number of bars as set in the dialog). Optimize All All of the above in one fell swoop. This procedure might take some time but usually yields great results.
Designing your score: additional techniques Reset Layout Reset Layout This function allows you to delete invisible layout elements, which in effect restores the score to default settings. PROCEDURE 1. Select “Reset Layout…” from the Scores menu. The Reset Layout dialog appears. 2. Activate the items you want to delete or reset to standard settings. 3. Click on “This Staff” to clean up the active staff only, or on “All Staves” to clean up all staves in the score.
Designing your score: additional techniques Breaking bar lines Coordinates Removes all manual spacing of note symbols and slurs. Breaking bar lines Sometimes you may not want a bar line to stretch all the way across a grand staff. If this is the case, you have the possibility to “break it”. Manually You can break the bar lines in one grand staff or in several grand staves and re-connect them. Breaking bar lines in one grand staff PROCEDURE 1. Select the Erase tool. 2.
Designing your score: additional techniques Breaking bar lines Re-connecting broken bar lines If you have broken the bar lines, you can use the Glue tool to connect them again. PROCEDURE 1. Select the Glue tool. 2. Click on one of the bar lines in the staff above the broken bar lines. All bar lines between these staves in this grand staff are connected. To re-connect bar lines in several grand staves, hold down [Alt]/[Option] and click with the Glue tool.
Scoring for drums About this chapter In this chapter you will learn: • How to set up the drum map. • How to set up a staff for drum notes. • How to enter and edit drum notes. • How to use a single line drum staff. Background: Drum maps in the Score Editor When scoring for drums, you can assign a unique note head to each pitch.
Scoring for drums Setting up the drum map RELATED LINKS MIDI Editors on page 686 Use Score Drum Map on/off For the drum map settings to be used in the score, you need to activate the “Use Score Drum Map” option in the Score Settings dialog on the Staff page (Options tab). Setting up the drum map To set up the drum map, proceed as follows: PROCEDURE 1. Open the Score Editor for the drums track. This should be a MIDI track to which you have assigned a drum map. 2.
Scoring for drums Setting up the drum map 5. Make settings for the sounds/MIDI notes you need. IMPORTANT Please note that many different drum maps can be created for a project. Which one you get depends on which drum map is assigned to the edited track. These drum maps are totally independent of one another, i. e. each pitch can have different settings in different drum maps. Score related options Pitch This corresponds to the I-note of the sound in the drum map, and cannot be edited here.
Scoring for drums Setting up the drum map All head symbols are arranged in pairs – by default an “empty” head and a “filled” head. Just as with regular notes, the “empty” note heads are used with half notes and larger note values, and the “filled” heads are used with quarter notes and smaller note values. 2. To select a head pair for a drum sound/note, click in the Head symbol column to open the pop-up menu and choose the new head pair.
Scoring for drums Setting up a staff for drum scoring • Using the “Move to Voice” function changes the voice assignment of the drum sound. NOTE This requires that you leave the Drum Map Setup dialog open – closing the dialog automatically deactivates this option, allowing you to perform normal editing. Setting up a staff for drum scoring PROCEDURE 1. Open the Score Settings dialog on the Staff page and select the Options tab. 2. Make sure that “Use Score Drum Map” is activated. 3.
Scoring for drums Using “Single Line Drum Staff” Using “Single Line Drum Staff” When this option is activated on the Options tab of the Staff page in the Score Settings dialog, there is only one line in the system. Furthermore, notes can only appear below the line, on the line and above the line. To decide which notes go where, proceed as follows: PROCEDURE 1. Open the Score Settings dialog on the Staff page and select the Options tab. 2. Activate “Use Score Drum Map” and “Single Line Drum Staff”. 3.
Creating tablature About this chapter In this chapter you will learn: • How to create tablature, automatically and manually. • How to control the appearance of the tablature notes. • How to edit tablature. Cubase is able to produce score in tablature format. This can be done automatically, by “converting” recorded MIDI information. You can also create a tablature staff from scratch and enter the notes “by hand”.
Creating tablature Creating tablature automatically 3. Activate “Tablature Mode”. 4. Select one of the predefined instruments from the pop-up menu. • If you are not using one of the predefined instruments, set the open tuning of each string using the value fields. You can create tablature for up to 12 strings. To disable a string, set it to Off, the lowest value. 5. If you want to use a capodaster, e. g. on the forth fret, enter the corresponding value in the Capo field.
Creating tablature Creating tablature manually Normally, the program automatically decides on which string to display a note, by looking at the pitch and then putting the note at the lowest possible string. You can then either manually move a note to the correct string, or use the “MIDI Channel 1–6” option to let the program move the notes automatically. PROCEDURE 1. Many guitar synthesizers are able to transmit each string on a different MIDI channel.
Creating tablature Tablature number appearance 7. Set up whatever other parameters you need in the dialog, and click Apply. 8. Select the Insert Note tool and move the pointer over the score. 9. Press the mouse button and drag up and down until the note appears on the desired string with the correct fret number (you can also verify the pitch on the toolbar, as usual). When you drag up and down, the program automatically selects the lowest possible string.
Creating tablature Note head shape Moving notes Moving notes in pitch in a tablature score is working the same way as entering notes manually, see above. Editing on the info line You can change the pitch of notes on the info line as usual. The string and fret number are updated automatically in the score. Note head shape If you only want to enter a fret number for your notes (Tablature mode off), you can use the Set Note Info dialog on regular notes. PROCEDURE 1. Double-click on the head of a note.
The score and MIDI playback About this chapter In this chapter you will learn: • How to use the Arranger mode to have the playback follow the structure of the score. • How to use the “mapped” Dynamics symbols. NOTE Cubase Pro only: You can also play back articulations in the Score using the Expression Map and Note Expression functions.
The score and MIDI playback Working with mapped dynamics Working with mapped dynamics Apart from the dynamics symbols found on the Dynamics tab, you can also use 12 “mapped” Dynamics symbols. These make use of the Note Expression functionality in Cubase. Mapped Dynamics symbols can be played back using three different methods: by modifying the velocity values in percentages, by sending volume controller messages or by sending additional generic controllers. These methods can also be combined.
The score and MIDI playback Working with mapped dynamics In the dialog, you can make the following settings: Change Velocities You can create dynamics by defining different velocities for the different symbols. PROCEDURE 1. Activate the “Change Velocities” checkbox in the lower section of the dialog. 2. Set up a percentage value (positive or negative) in the Velocity column to specify by how much the corresponding symbol will raise or reduce the current velocity value of a note.
The score and MIDI playback Working with mapped dynamics Send Controller You can also send an additional MIDI controller (except MIDI controllers 7 and 11, which are used for the “Send Volume” function). If you combine this with the “Send Volume” function, you can set up a sound which gets brighter as it gets louder, which is useful when working with strings or woodwind and brass instruments. PROCEDURE 1. Activate “Send Controller” and specify the controller you want to use in the pop-up menu.
The score and MIDI playback Working with mapped dynamics • When you insert a crescendo symbol which is not preceded by a Dynamic symbol, the “assumed” start value is mezzo forte (mf). • Likewise, if a crescendo symbol is not followed by a dynamic symbol, an end value will be calculated automatically. For a crescendo, this is one value above the start value, and for a decrescendo one value below the start value.
Tips and Tricks Overview This chapter provides useful information about editing techniques and answers to a number of questions that might arise when you use the Score Editor. For more information about the functions referred to, please use the index and check the previous chapters. Useful editing techniques Use this section to find out more about some editing techniques that help you to use the score functions more efficiently.
Tips and Tricks Useful editing techniques 4. Use the To Previous Staff or To Next Staff settings to specify the desired distance between the staves. All selected staves are spaced according to your settings. If you do this when the “Global staff Spacing with [Alt]/[Option]-[Ctrl]/[Command]” option is activated, all staves in the score are affected. Polyphonic voicing If you are working on a full score with more than one instrument in one staff (2 flutes, 2 trumpets, etc.
Tips and Tricks Useful editing techniques Using “Scores Notes To MIDI” This function converts the score data, as displayed, into MIDI data. Let’s say for example that you have set up the score so that it is displayed to 99 % the way you want it to be. Yet, that last 1 % forces you to deactivate some of the Staff Settings (like Clean Lengths, No Overlap, or Auto Quantize), which makes other parts of the score illegible. In this case, try using the “Scores Notes To MIDI” function.
Tips and Tricks Frequently asked questions Controlling the order and appearance of grace notes Normally, grace notes are beamed. Their order under the beam is controlled by their order in the track. It is enough to put a grace note one tick before the next grace note to make them appear in the desired order under the beam. Initially the grace notes are put in with a 32nd note beam. By double-clicking the note and changing the “flag” type in the Set Note Info dialog, you can change this.
Tips and Tricks Frequently asked questions I enter a note with one value and it is shown as a note with another value. Set the Rests value for Display Quantize to a smaller note value. Try deactivating Auto Quantize, especially if you do not have any triplets or triplets only. Notes are not displayed at the correct positions. Try changing the Notes value for Display Quantize. There are a number of short rests after my notes. Your Rests value for Display Quantize might be set to too small a note value.
Tips and Tricks Frequently asked questions One long note is shown as many tied notes. Do other notes occur at the same positions but with different lengths? Then you need to use polyphonic voicing. Are the note(s) syncopated? Then you should try the syncopation feature. Even though I’ve tried the above, notes are not tied as I want them. The way notes are tied in Cubase follows basic notation rules. You may need to make exceptions to these rules, by using the Cut Notes tool.
Tips and Tricks Frequently asked questions When I select a note, nothing is shown on the info line. The note is probably tied to another note. This means that the second note does not really exist, it is just a graphic indication that the main note is long. Try selecting the main note instead. Symbols from the Layout Symbols tab are sometimes invisible when I open the score. This is not a malfunction. Those symbols are part of a layout.
Tips and Tricks Frequently asked questions A note symbol appears too far from the note I wanted it inserted on. Do you have activated the correct voice? Note symbols are inserted into voices, just like notes. The note I recorded is displayed with the wrong length. For example, I recorded a sixteenth and got a quarter note. You probably have the wrong Display Quantize value set. Open the Score Settings dialog and select the Staff page.
Tips and Tricks If you wish you had a faster computer The note has an accidental when it shouldn’t, or it doesn’t when it should. Maybe the note is simply of the wrong pitch? Click on it (using the Object Selection tool) and look at the info line. Move it to the correct pitch. If this is not the reason, maybe you have the wrong key set? And finally, you can also use enharmonic shifting.
Index A Accelerando 1191 Accents Above stems 1213 Accidentals About 1181 Distance from note 1183 ACID® loops 451 Acoustic feedback 689 Sample Editor 441 Score Editor 1138 VariAudio 485 Activate ’Link Panners’ for New Tracks 1082 Activate Project 76 Activate Read/Write for all tracks 585 Active TrackVersion 154 Adapt (Display Quantize) 1157 ADAT Lightpipe 957 Add Track 134 Add Track dialog 134 Adding chords 817, 821 AES/SPDIF Digital Audio 957 AES17 Meters 315 AIFF files 948 Algorithms Limitations 430 Sampl
Index Audio Recording 221 Preparations 220 Pre-Record Time 224 RAM Requirements 220 Record File Format 219 Record Folder 219 Record Modes 222 Recording a downmix 223 Recording with Effects 222 Recovering 224 Recovering recordings 223 Undo 223 Audio regions About 167 Audio tracks 82 Render in Place 172 AudioWarp Unstretching audio 491 Audition chords 823 Audition through MIDI Inserts/Sends 1068 Auditioning Acoustic feedback 441 Audio events 169 Audio Part Editor 495 Audio parts 169 Sample Editor 441 Speaker
Index Busses Adding 30 Child busses 31 Mixing down to file 938 Bypass AudioWarp 485 Pitch changes 485 SurroundPanner V5 573 Byte values Editing in ASCII display 777 Editing in binary display 777 Editing in decimal display 777 C Cadence mode Chord Assistant 819 Complexity filters 819 Changing styles 741 Channel linking 307 Channel names Searching 305 Channel overview MixConsole 291 Channel racks 300, 325 EQ 330 Filters 327 Gain 328 Inserts 328 Phase 328 Pre 327 Routing 325 Sends 342 Strips 333 Channel Rota
Index Cleanup 1012 Clefs Editing 1149 Inserting 1148 Moving 1150 Selecting automatically 1111 Setting initial 1106 Clip editing Pool 513 Clock sources 957 Coloring Events 690 Note events 690 Coloring tracks 136 Colorize Only Folder Track Controls 1066 Colorize Track Controls 1066 Colors Assigning to MIDI notes 1186 Customizing 1035 Preferences 1053 Colors for Additional Meanings Scores 1077 Common notes mode Chord Assistant 819 Complexity filters 819 Complexity filters Cadence mode 819 Common notes mode 81
Index DC Offset Removing 412 Deactivate Punch In on Stop 1080 Deactivate Read/Write for all tracks 585 Decimal display Editing byte values 777 Deep Track Folding 1061 Default Author Name 1068 Default Company Name 1068 Default Edit Action 1065 Default MIDI editor 687 Default Number of Bars per Staff 1077 Default Send Level 1082 Default Stereo Panner Mode 1082 Default Track Area Width 1066 Default Track Name Width 1066 Default Track Time Type 1054 Default Warping Algorithm 1056 Delay compensation Constrainin
Index Effects About 372 Comparing settings 392 Control panel 391 Converting earlier presets 396 Copying presets 396 Default presets 395 Dithering 379 Earlier presets 396 Exporting plug-in information files 400 External effects 391 Extracting insert effect settings from track presets 398 Insert effects 372, 374 Managing plug-ins 399 Multi-channel configuration 377 Offline 372 Pasting presets 396 Plug-in delay compensation 374 Plug-in information window 398 Pre/Post fader sends 386 Presets 392 Presets browse
Index Expression maps Creating 785 Drum Editor 782 In-Place Editor 782 Inspector 781 Key Editor 782 List Editor 784 Loading 780 Score Editor 782 External effects About 33, 391 Favorites 39 Freezing 39 Missing plug-ins 40 Setting up 34 External instruments About 33 Favorites 39 Freezing 39 Missing plug-ins 40 Setting up 37 External monitoring 217 Extract Audio on Import Video File 1087 Extracting Audio from video 990, 1016 Audio to MIDI (VariAudio) 486 MIDI Automation 684 Voices 1176 Extracting chord events
Index Importing Audio from video files 1016 MIDI files 1021 MPEG files 1017, 1018 Ogg Vorbis files 1018 OMF files 1018 REX files 1016 Tempo track 908 Track archives 1026 Video files 983 WMA files 1018 Importing markers 289 Independent track loop Audio Part Editor 496 Indicate Transpositions 277 Info line Changing note lengths 1144 Drum Editor 703, 749 Editing articulations 784 Editing note pitches 1142 Key Editor 703, 749 Project window 47 Sample Editor 435 Score Editor 732, 1102 Inhibit warning when apply
Index LFE SurroundPanner V5 571 Limiter Strip module 333 Line tool 707 Drawing note events 707 Editing controller display events 720 Editing events 720 Link Editors 1054 Link groups 305 Adding channels 307 Assigning VCA faders 311 Changing settings 307 Creating 306 Q-Link 308 Removing channels 308 Removing VCA faders 311 Unlink 307 List Editor 761 Editing events 769, 770 Editing operations 768 Hiding events 765 Inserting events 768 Showing events 765 Status line 765 Toolbar 761 Listen MixConsole 323 Live t
Index MIDI devices Defining new for patch selection 661, 662 Device Manager 659 Editing patches 665 Installing 662 Selecting patches 664 MIDI Display Resolution 1068 MIDI Editor Muting note events 692 MIDI editors Opening 686 Soloing 689 Zooming 688 MIDI effects About 652 Inserts 653 Presets 655 Sends 654 MIDI Export Options 1070 MIDI files 1021 MIDI Filter 1073 MIDI Import Options 1070 MIDI Input Chord editor 818 MIDI Input function Sample Editor 481 Score Editor 1142 MIDI Input Transformer 878 MIDI Input
Index MPEX algorithm About 428 Pitch Shift 408 Multi processing 1047 Multi-channel tracks Export 938 Multi-Rests Creating 1285 Option 1281 Settings 1286 Splitting 1286 Musical expressions Editing 722 Musical Mode About 451 Adjusting audio loops 452 Pool 451 Musical track time base 149 MusicXML About 1274 Exporting 1278 Importing 1278 Mute MixConsole 322 Surround channels 566 Mute Pre-Send when Mute 1082 Muting events 189 N Navigating MixConsole 350 Never Reset Chased Controllers 1068 Noise Gate 406 Normal
Index Pattern banks Previewing in MediaBay 538 Peak meter display 315 Pedal symbols 1238 Pedals To note length 681 Performance Aspects 1045 Audio hardware 1047 CPU and processor cache 1046 Driver 1047 Hard disk and controller 1047 Optimizing 1045 RAM 1046 VST performance 1048 Phase MixConsole 328 Phase Reverse 408 Phones channel Source buttons 359 Piano staves Fixed split point 1146 Variable split point 1167 Piano voicings 825 Pick-up Mode 606, 624 Pitch Changing for chords 710 Pitch changes Disabling in S
Index Projects About project files 70 About template files 70 Activating 76 Auto save 77 Back up 79 Creating new 67, 69 Location 78 Missing ports 76 Opening 75 Opening recent 76 Prepare archive 79 Project Assistant 69 Removing unused audio files 79 Revert 78 Saving 77 Saving templates 71 Setting up 72 Steinberg Hub 68 Punch In/Out Common Record Modes 215 Putting SysEx dumps on a special muted track 775 Q QC Learn Mode 619 Q-Link 308 Quantize Pitch (VariAudio) 478 Selecting values 1130 Quantize Panel About
Index Rests Consolidating 1158 Creating multi-rests 1285 Display Quantize 1092 In polyphonic voices 1165, 1172 Retrospective Record 1076 MIDI 232 Return to Start Position on Stop 1080 Reverse (audio processing) 413 Reverse (MIDI function) 685 ReWire About 992 Activating 994 Channels 995 Routing MIDI 996 REX files 1016 Ritardando 1191 RMS display Meters 315 Root key Setting for unassigned events 273 Routing For surround setup 561 Group channels 326 Input busses 326 MixConsole 325 Output busses 326 Routing E
Index Score settings About 1127 Switching staves 1128 Values for note input 1128 Score symbols Adding 1214 Adding to notes 1213 Aligning 1233 Creating 1242 Deleting 1233 Duplicating 1226 Guitar chords 1219 In palettes 1210 Length 1231 Moving 1226 Moving with keyboard 1229 Note layer symbols 1206 Note-dependent 1206 Relation to staves/voices 1212 Resizing 1231 Selecting 1224 Score texts 741 Adding 741 Changing fonts 741, 742 Changing sizes 741, 742 Changing styles 742 Editing 741 Scores Printing 742 Scroll
Index Speaker tool Audio Part Editor 495 Sample Editor 441 Spectacle bass 1190 Spectrum Analyzer 424 Split at Cursor 184 Split Loop 184 Split MIDI Controllers 1060 Split MIDI Events 1060 Split tool 1290 Splitting By ranges 195 Notes 740 Staves 1146 Splitting events 184 Staff settings About 1121 Switching staves 1153 System sizes 1161 Start Recording at Cursor Common Record Modes 215 Start Recording at Left Locator Common Record Modes 215 Static value line Automation 576 Stationary Cursors 1080 Statistics 4
Index Thumbnails About 985 Thumbnail cache files 985 Tied Notes selected as Single Units 1077 Ties About 1134, 1196 Adding as symbols 1215 Cut Notes tool 1197 Direction 1183, 1232 Dynamics 1231 Flat 1198 Shape 1232 Splitting 1145 Time Base Default track time base 150 Tracks 149 Time display 204 Time linear track time base 149 Time signatures Composite 1108 Editing 907, 1149 For grouping 1108 Inserting 1148 Modern 1281 Setting initial 1106 Signature track/Tempo Track Editor 1109 Time stretch 414 Algorithms
Index Transport panel Display format 204 Hiding 196 Overview 196 Sections 196 Showing 196 Transpose MIDI function 673 MIDI Modifier 646 Transpose track 126 About 271 Transposing Instruments 1114 MIDI notes 1141 Treat Muted Audio Events like Deleted 1056 Trills Creating 1218 Trim Automation 588 Trim tool Changing event lengths 709 Tuplets 1202 Display options 1204 Group symbols 1237 N-Tuplets 1204 Quantizing 240 U Undo Edit history 65 Maximum undo steps 66 Processing 418 Undoing Recording Audio 223 Unlock
Index VST plug-ins Installing 613 VST Presets Loading 163 VST System Link About 966 Activating 971 Connections 968 Latency 969 MIDI 974 Putting computers online 973 Requirements 967 Setting up sync 968 Settings 970 W Warn Before Removing Modified Effects 1084 Warn before switching Display Domain (Timewarp Tool) 1063 Warn on Processing Overloads 1082 Warp markers Editing 458 Resetting 459 Warping segments VariAudio 482 Wave 64 files 949 Wave files 949 Waveform Brightness 1064 Waveform display Sample Editor
