Cubase 5 Effect Plug-ins
Operation Manual by Ludvig Carlson, Anders Nordmark, Roger Wiklander Quality Control: C.Bachmann, H. Bischoff, S. Pfeifer, C. Schomburg The information in this document is subject to change without notice and does not represent a commitment on the part of Steinberg Media Technologies AG. The software described by this document is subject to a License Agreement and may not be copied to other media except as specifically allowed in the License Agreement.
Introduction This document contains descriptions of the effects from version 5 of Cubase. These can be found on the “Cubase 5 Plug-ins” submenu on the effect pop-up menus in the program, if you chose to install them during the Cubase SX/SL installation. Note that some of these plug-ins are duplicates of the standard Cubase SX/SL plug-ins.
Table of Contents • Autopole – see page 5. • Chopper2 – see page 29. • Distortion – see page 28. • Karlette – see page 37. • Metalizer2 – see page 33. • MIDI Comb – see page 9. • MIDI Gate – see page 13. • Mysterizer – see page 16. • Phatsync – see page 19. • Reverb – see page 31. • Reverb 32 – see page 32. • Ring Modulator – see page 23. • subBASS – see page 26. • Tranceformer2 – see page 35.
Autopole The Autopole is a filter effect containing two separate filters capable of operating in four different modes, an Envelope Generator and an LFO with four different waveforms. It also lets you choose between three different signal routing modes to control how an incoming signal should be sent through the filters. The Autopole should be used as an insert effect.
The Filters Parameter Description Filter Mode buttons (LP, BP, HP, Notch) These buttons let you decide in which mode the Filter should operate: LP: This is a Low-Pass Filter that “filters out” the high frequency content of the incoming signal, according to a certain set threshold level. Only signals below the threshold will pass through. BP: This is a Band-Pass filter that only lets signals around the set frequency through, filtering out all other content.
Signal Routing By clicking one of the three buttons, you choose how an input stereo signal will pass though the filters. The signal flow chart to the left of the buttons indicates the path: • Option # 1 will have the signal from each channel pass through both of the filters in series (one after the other). • With option # 2, the signal from each channel will pass through both of the filters in parallel, and then be mixed at the output.
LFO These are the controls for the Low Frequency Oscillator, used for adding continuous filter movement, wah-wah effects, etc: Parameter Description Frequency This slider controls the speed of the LFO. The farther to the right you drag the slider, the faster the oscillation will be. Modulation Use this slider to control how the speed of the LFO should be modulated by the Envelope Generator (and thus by the level of the input signal).
MIDI Comb This is a comb filter, which can be described as one or several very short delays with high feedback, causing resonating peaks at certain frequencies. While the MIDI Comb is used as an insert effect on an audio channel, the signals that actually trigger it are the ones sent from a MIDI track.
Setting Up The MIDI Comb requires both an audio signal and a MIDI input to function. To set it up, proceed as follows: 1. Select the audio to be affected by the MIDI Comb. This can be audio material from any audio track, or even a live audio input routed to a audio track (provided you have a low latency audio card). If a live audio input is used, the track has to be record enabled or in Monitor mode. 2. Select the MIDI Comb as an Insert effect for the audio channel. 3. Select a MIDI track.
You can now make settings for the MIDI Comb using the following parameters: Amp e.g. Parameter Description Atk Use this slider to set the attack time of the resonant tones created by the comb filter – i.e how soon they will start to resonate after being triggered by MIDI notes. The farther down you drag the slider, the shorter the attack. Rel This controls the release time of the resonant tones created by the comb filter – i.e. how soon the sound will be cut off.
Feedback Parameter Description Feedback This slider governs the amount of effect output from the MIDI Comb that is fed back in again. The more effect feedback, the more complex the sound. Drag the slider upwards to increase feedback. Filters Parameter Description LP Cut-off Use this to set the frequency threshold of the Low-Pass Filter. This filter cuts off all of the high frequencies relative to the set threshold.
MIDI Gate Gating, in its fundamental form, silences audio signals below a certain set threshold level. I.e. when a signal rises above the set level, the Gate opens to let the signal through while signals below the set level are cut off. MIDI Gate however, is a Gate effect that is not triggered by threshold levels, but instead by MIDI notes. Hence it needs both audio and MIDI data to function.
Setting Up The MIDI Gate requires both an audio signal and a MIDI input to function. To set it up, proceed as follows: 1. Select the audio to be affected by the MIDI Gate. This can be audio material from any VST Audio Track, or even a live audio input routed to a VST Audio Track (provided you have a low latency audio card). If a live audio input is used, monitoring must be activated. 2. Select the MIDI Gate as an Insert effect for the Audio channel. 3. Select a MIDI Track to control the MIDI Gate.
You can now make settings for the MIDI Gate using the following parameters: Parameter Values Description Attack 0 - 500 This is used for determining how long it should take for the Gate to open after receiving a signal that triggers it. Hold 0 - 3.000 Regulates how long the Gate remains open after a Note On or Note Off message (see Hold Mode below). Release 0 - 3.000 This determines how long it takes for the Gate to close (in addition to the value set with the Hold-parameter).
Mysterizer The Mysterizer is a multi-effect plug-in with a unique hands-on user interface. It can be used as an insert effect or a send effect, and allows you to choose between eight different effects. For each effect, you can control two parameters by clicking and dragging in the display, allowing for continuous real-time effect manipulation, subtle sweeping changes or weird, wild mutations.
Here’s how to use the Mysterizer: 1. Play back some audio and route the audio channel through the Mysterizer (either as an insert or a send effect). 2. Open the Mysterizer effect control panel and click the Prog Select field to the right to select the desired effect. Each time you click, the next effect is selected. For a list of the effects, see below. 3.
The Effects The following effects are available: Effect Description X-axis param. Y-axis param. Ring Modulator An effect with which the in- Amount of coming audio is ring modu- effect lated by an internal, variable frequency oscillator, thereby producing new harmonics. Frequency of the built-in oscillator Comb Delay A delay with high feedback, Feedback causing resonating peaks at amount certain frequencies. Manual delay time (pitch) adjustment Mono Delay A monaural delay.
Phatsync Phatsync is a pattern-controlled multimode filter that can create rhythmic, pulsating filter effects. General Operation Phatsync can produce two simultaneous 16-step patterns for the filter cutoff and resonance parameters, synchronized to the sequencer tempo.
Setting Step Values • Setting step values is done by clicking in the pattern grid windows. Individual step entries can be freely dragged up or down the vertical axis, or directly set by clicking in an empty grid box. By click-dragging left or right consecutive step entries will be set to the pointer position. Setting filter cutoff values in the grid window.
Selecting New Patterns • Created patterns are saved with the song, and up to 8 different Cutoff and Resonance patterns can be saved internally. Both the Cutoff and Resonance patterns are saved together in the 8 Pattern memories. • To select new patterns you use the Pattern Selector. New patterns are all set to the same step value by default. Pattern Selector.
Phatsync Parameters: Parameter/Value Description Base Cutoff This sets the base filter cutoff frequency. Cutoff values set in the Cutoff Grid windows are values relative to the Base Cutoff value. Base Resonance This sets the base filter resonance. Resonance values set in the Resonance Grid windows are values relative to the Base Resonance value. Note that very high Base Resonance settings can produce loud ringing effects at certain frequencies.
Ring Modulator The Ring Modulator can produce complex, bell-like enharmonic sounds. Ring Modulators work by multiplying two audio signals together. The ring modulated output contains added frequencies generated by the sum of, and the difference between, the frequencies of the two signals. The Ring Modulator has a built-in oscillator that is multiplied with the input signal to produce the effect.
Parameters: Parameter Description Oscillator LFO Mod LFO Mod controls how much the oscillator frequency is affected by the LFO. Oscillator EG Mod EG Mod controls how much the oscillator frequency is affected by the Envelope (which is triggered by the input signal). Positive and negative values can be set, with center position representing no modulation.
Parameter Description Envelope Generator The Envelope Generator section controls how the input signal is converted to envelope data, which can then be used to control oscillator pitch and LFO speed. It has two main controls: Attack sets how fast the EG output level rises in response to a rising input signal. Decay controls how fast the EG output level falls in response to a falling input signal.
subBASS The subBASS is a bass synthesizer, that can generate low frequency content and track the pitch from the audio material for deep, subsonic bass effects.
The parameters are as follows: Parameter Values Description Mode Boost/Divide/ Trigger Boost produces a warm bass boost to the signal. Divide generates a pitch tracking signal an octave below the input signal. Trigger adds a decaying “boom” produced by an oscillator, typically triggered by a kick drum. Tune 20-500Hz This sets the maximum frequency to be affected. Set as low as possible to avoid unwanted distortion. In “Trigger” mode this sets the oscillator frequency.
Distortion The Distortion effect plug-in is capable of producing anything from a soft “crunch” to all-out distortion. There is a selection of factory presets available. Note that these presets are not stored parameter settings, but different basic distortion algorithms. The basic characters of the distortion preset “models” are indicated by their names. The parameters are as follows: Parameter Values Description Input -24dB to 0dB Sets the Input level. Output -24dB to 0dB Sets the Output level.
Chopper2 Chopper2 is a combined tremolo and autopan effect. It can use different waveforms to modulate the level (tremolo) or left-right stereo position (pan), either using Tempo Sync or manual modulation speed settings.
The parameters are as follows: Parameter Values Description Input 0-100% Sets the Input level. Output 0-100% Sets the Output level. Mix 0-100% Sets the level balance between the dry signal and the effect. If Chopper is used as a send effect, this should be set to maximum as you can instead control the dry/effect balance with the send.
Reverb Reverb is used to add ambience and “space” to recordings. The reverb effect features the following parameters: Parameter Values Description Mix 0-100% Sets the level balance between the dry signal and the effect. If Reverb is used as a send effect, this should be set to maximum as you can instead control the dry/effect balance with the send. Room Size 0-100% Governs the “size” of the simulated room environment.
Reverb 32 Reverb 32 is a reverb plug-in which provides smooth, dense reverb effects. Reverb 32 has the following parameters: Parameter Values Description Mix Dry/Wet Sets the level balance between the dry signal and the effect (wet). If Reverb 32 is used as a send effect, this should be set to maximum wet, as you can instead control the dry/wet balance with the send. Room Size 20-100 This setting determines the “size” of the simulated room environment.
Metalizer2 The Metalizer feeds the audio signal through a variable frequency filter, with Tempo sync or time modulation and feedback control.
The parameters are as follows: Parameter Values Description Tempo Sync pop- No sync, 1/1 to 1/32, 1/1 When tempo sync is activated (the up to 1/32 Triplet, “Sync” button is lit) clicking the field 1/1 to 1/32 Dotted above the Speed knob opens a pop-up menu, on which you select a note value for tempo-syncronizing the effect. There is no note value modifier for this effect.
Tranceformer2 Tranceformer2 is a ring modulator effect, in which the incoming audio is ring modulated by an internal, variable frequency oscillator, producing new harmonics. A second oscillator can be used to modulate the frequency of the first oscillator, synchronized to the Song tempo if you wish.
The parameters are as follows: Parameter Values Description Input 0-100% Sets the Input level. Output 0-100% Sets the Output level. Mix 0-100% Sets the level balance between the dry signal and the effect. Pitch 1 - 5000Hz Governs the frequency (pitch) of the modulating oscillator.
Karlette The Karlette is a four-channel delay, that emulates a “tape-loop” echo. The four “tape-heads” can be set to a certain note value, or a certain time, depending on whether Tempo Sync is activated or not.
For each of the four “tape-heads”, you can set the following parameters: Parameter Values Description Delay 1/32, 1/16, 1/16*, 1/8, 1/4T, 1/8*, 1/4, 1/2T, 1/4*, 1/2, 3/4, 1/1 Sync Off: 0 - 2 sec. With the sync button activated, the delay can be set to a note value synchronized to the Cubase SX/SL tempo. If the sync button is deactivated, the delay can be freely set to a time value. Volume Off to OdB The amplitude of the delay. With the knob turned all the way to the left, the delay is muted.
