Pinnacle Systems Pro Tools AI 7, Cubase Artist - 7.0, Cubase 7.0 Reference Guide

Plug-in Reference

Cristina Bachmann, Heiko Bischoff, Marion Bröer, Christina Kaboth, Insa Mingers, Sabine Pfeifer, Benjamin Schütte

This document covers the plug-in effects and instruments included in Cubase 7, Cubase Artist 7, Cubase Elements 7, Cubase AI 7, Cubase LE 7, and Nuendo 6.

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. 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. No part of this publication may be copied, reproduced, or otherwise transmitted or recorded, for any purpose, without prior written permission by Steinberg Media Technologies GmbH. Registered licensees of the product described herein may print one copy of this document for their personal use.

All product and company names are ™ or ® trademarks of their respective owners. For more information, please visit www.steinberg.net/trademarks.

Release Date: December 3, 2012

5 The Included Effect Plug-ins

5 Introduction 5 Delay Plug-ins 5 ModMachine 7 MonoDelay 8 PingPongDelay 9 StereoDelay 10 Distortion Plug-ins 10 AmpSimulator 11 BitCrusher 12 DaTube 12 Distortion 13 Grungelizer 14 SoftClipper 15 VST Amp Rack 21 Dynamics Plug-ins 21 Brickwall Limiter 22 Compressor 23 DeEsser 24 EnvelopeShaper 25 Expander 26 Gate 28 Limiter 29 Maximizer 30 MIDI Gate 32 MultibandCompressor 33 Tube Compressor 35 VintageCompressor 36 VSTDynamics 39 EQ Plug-ins 39 DJ-EQ 40 GEQ-10/GEQ-30 41 StudioEQ 44 CurveEQ 60 Filter Plug-ins 60 DualFilter 61 MorphFilter 62 PostFilter 63 StepFilter 65 ToneBooster 65 WahWah 66 Mastering Plug-ins 66 UV22HR 67 Modulation Plug-ins 67 AutoPan 68 Chopper 69 Chorus 70 Cloner

71 Flanger 72 Metalizer 73 Phaser 74 75 Rotary 77 StudioChorus 78 Tranceformer 79 Tremolo 80 Vibrato 81 Pitch Shift Plug-ins 81 Octaver 82 Pitch Correct 84 PitchDriver 85 Reverb Plug-ins 85 REVerence 93 RoomWorks 95 RoomWorks SE 96 Spatial + Panner Plug-ins 96 Anymix Pro 104 MonoToStereo 105 StereoEnhancer 105 SurroundPanner V5 106 Surround Plug-ins 106 MatrixDecoder 107 MatrixEncoder 109 Mix6To2 110 Mix8To2 111 MixConvert V6 113 MixerDelay 114 Tools Plug-ins 114 MultiScope 117 SMPTEGenerator 119 TestGenerator 120 Tuner

RingModulator

121 MIDI Effects

121 Introduction 121 Arpache 5 123 Arpache SX 125 Auto LFO 126 Beat Designer 134 Chorder 137 Compressor 138 Context Gate 140 Density 140 Micro Tuner 141 MIDI Control 141 MIDI Echo 143 MIDI Modifiers 144 MIDI Monitor 145 Note to CC 145 Quantizer 146 StepDesigner 149 Track Control 152 Transformer

153 The Included VST Instruments

153 Introduction 153 Groove Agent ONE 161 HALion Sonic SE 161 LoopMash 162 Getting Started 164 LoopMash Parameters 173 Mystic 174 Sound Parameters 177 Modulation and Controllers 185 Padshop 185 Prologue 186 Sound Parameters 193 Modulation and Controllers 200 Retrologue 201 Spector 202 Sound Parameters 204 Modulation and Controllers 212 Diagrams

Introduction

This chapter contains descriptions of the included plug-in effects and their parameters.

The plug-in effects are arranged in a number of different categories. This chapter is arranged in the same fashion, with the plug-ins listed in separate sections for each effect category.

Ö Most of the included effects are compatible with VST3. For more information, see the

Operation Manual.

Delay Plug-ins

This section contains descriptions of the plug-ins in the “Delay” category.

The Included Effect Plug-ins

ModMachine

Included with

Cubase LECubase AICubase

Elements

– – – – X X –

Cubase

Artist

Cubase Nuendo NEK

Delay Plug-ins

ModMachine combines delay modulation and filter frequency/resonance modulation and can provide many interesting modulation effects. It also features a Drive parameter for distortion effects.

The following parameters are available:

Parameter Description

Delay If tempo sync is on, this is where you specify the base note value for

the delay (1/1 to 1/32, straight, triplet, or dotted). If tempo sync is off, the delay time can be set freely in milliseconds.

Delay – Sync button

Rate The Rate parameter sets the base note value for tempo syncing the

Rate – Sync button

Width Sets the amount of delay pitch modulation. Note that although the

Feedback Sets the number of repeats for the delay.

Drive Adds distortion to the feedback loop. The longer the Feedback, the

Mix Sets the level balance between the dry and the wet signal. If

Nudge button Clicking the Nudge button once momentarily speeds up the audio

Signal path graphic and Filter position

Filter type (in graphic display)

Freq Sets the cutoff frequency for the filter. It is only available if tempo

Speed Sets the speed of the filter frequency LFO modulation. When using

Speed – Sync button

Range Lo/Hi These knobs specify the range of the filter frequency modulation.

The button below the Delay knob switches tempo sync for the Delay parameter on or off.

delay modulation (1/1 to 1/32, straight, triplet, or dotted). If tempo sync is off, the rate can be set freely.

The button below the Rate knob switches tempo sync for the Rate parameter on or off.

modulation affects the delay time, the sound is mostly perceived as a vibrato or chorus-like effect.

more the delay repeats become distorted over time.

ModMachine is used as a send effect, set this to the maximum value (100

%) as you can control the dry/effect balance with the send.

coming into the plug-in, simulating an analog tape nudge type sound effect.

The filter can either be placed in the feedback loop of the delay or in the output path of the effect (after the Drive and Feedback parameters). To switch between the “loop” and “output” positions, click on the Filter section displayed in the graphic or click on the Position field at the bottom right of the graphic.

Allows you to select a filter type. A low-pass, band-pass, and highpass filter are available.

sync for the Speed parameter is deactivated and the parameter is set to 0.

tempo sync, the Speed parameter sets the base note value for tempo syncing the modulation (1/1 to 1/32, straight, triplet, or dotted). If tempo sync is off, the speed can be set freely.

The button below the Speed knob switches tempo sync for the Speed parameter on or off.

Both positive (for example, Lo set to 50 and Hi set to 10000) and negative (for example, Lo set to 5000 and Hi set to 500) ranges can be set. If tempo sync is off and the Speed is set to zero, these parameters are inactive and the filter frequency is controlled by the Freq parameter instead.

The Included Effect Plug-ins

Delay Plug-ins

Parameter Description

Spatial Introduces an offset between the channels to create a stereo

panorama effect for the filter frequency modulation. Turn clockwise for a more pronounced stereo effect.

Q-Factor Sets the resonance of the filter. It is only available if filter resonance

LFO tempo sync is deactivated and the Speed parameter is set to 0. When using tempo sync, the resonance is controlled by the Speed and Range parameters.

Speed Sets the speed of the filter resonance LFO modulation. When using

tempo sync, the Speed parameter sets the base note value for tempo syncing the modulation (1/1 to 1/32, straight, triplet, or dotted). If tempo sync is off, the speed can be set freely.

Speed – Sync button

Range Lo/Hi These knobs specify the range of the filter resonance modulation.

Spatial Introduces an offset between the channels to create a stereo

The button below the Speed knob switches tempo sync for the Speed parameter on or off.

Both positive (for example, Lo set to 50 and Hi set to 100) and negative (for example, Lo set to 100 and Hi set to 50) ranges can be set. If tempo sync is off and the Speed is set to zero, these parameters are inactive and the filter resonance is controlled by the Q-Factor parameter instead.

panorama effect for the filter resonance modulation. Turn clockwise for a more pronounced stereo effect.

MonoDelay

Cubase LECubase AICubase

Elements

Included with

Side-chain support

This is a mono delay effect that can either be tempo-based or use freely specified delay time settings.

The following parameters are available:

Parameter Description

Delay If tempo sync is on, this is where you specify the base note value for

Sync button The button below the Delay knob switches tempo sync on or off.

Feedback Sets the number of repeats for the delay.

X X X X X X –

– – – X X X –

the delay (1/1 to 1/32, straight, triplet, or dotted). If tempo sync is off, the delay time can be set freely in milliseconds.

Cubase

Artist

Cubase Nuendo NEK

The Included Effect Plug-ins

Parameter Description

Filter Lo Affects the feedback loop of the effect signal and allows you to roll off

Filter Hi Affects the feedback loop of the effect signal and allows you to roll off

Mix Sets the level balance between the dry and the wet signal. If

Ö If side-chaining is supported, the delay can also be controlled from another signal

source via the side-chain input. When the side-chain signal exceeds the threshold, the delay repeats are silenced. When the signal drops below the threshold, the delay repeats reappear. For a description of how to set up side-chain routing, see the Operation Manual.

PingPongDelay

Delay Plug-ins

low frequencies from 10 activates/deactivates the filter.

high frequencies from 20 knob activates/deactivates the filter.

MonoDelay is used as a send effect, set this to the maximum value as you can control the dry/effect balance with the send.

Hz up to 800 Hz. The button below the knob

kHz down to 1.2 kHz. The button below the

Cubase LECubase AICubase

Elements

Included with

Side-chain support

This is a stereo delay effect that alternates each delay repeat between the left and right channels. The effect can either be tempo-based or use freely specified delay time settings.

The following parameters are available:

Parameter Description

Delay If tempo sync is on, this is where you specify the base note value for

Sync button The button below the Delay knob switches tempo sync on or off.

Feedback Sets the number of repeats for the delay.

Filter Lo Affects the feedback loop of the effect signal and allows you to roll off

Filter Hi Affects the feedback loop of the effect signal and allows you to roll off

– – X X X X –

– – – X X X –

the delay (1/1 to 1/32, straight, triplet, or dotted). If tempo sync is off, the delay time can be set freely in milliseconds.

low frequencies up to 800 activates/deactivates the filter.

high frequencies from 20 knob activates/deactivates the filter.

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Artist

Hz. The button below the knob

kHz down to 1.2 kHz. The button below the

Cubase Nuendo NEK

The Included Effect Plug-ins

Parameter Description

Spatial Sets the stereo width for the left/right repeats. Turn clockwise for a

Mix Sets the level balance between the dry and the wet signal. If

Ö If side-chaining is supported, the delay can also be controlled from another signal

StereoDelay

Delay Plug-ins

more pronounced stereo ping-pong effect.

PingPongDelay is used as a send effect, set this to the maximum value as you can control the dry/effect balance with the send.

Cubase LECubase AICubase

Elements

Included with

Side-chain support

StereoDelay has two independent delay lines which either use tempo-based or freely specified delay time settings.

The following parameters are available:

Parameter Description

Delay 1 & 2 If tempo sync is on, this is where you specify the base note value for

Sync buttons The buttons below the Delay knobs turn tempo sync on or off for the

Feedback 1 & 2 Set the number of repeats for each delay.

Filter Lo 1 & 2 Affect the feedback loop of the effect signal and allow you to roll off

Filter Hi 1 & 2 Affect the feedback loop of the effect signal and allow you to roll off

Pan 1 & 2 Set the stereo position for each delay.

Mix 1 & 2 Set the level balance between the dry and the wet signal. If

– – – X X X –

the delay (1/1 to 1/32, straight, triplet, or dotted). If tempo sync is off, the delay time can be set freely in milliseconds.

corresponding delay.

low frequencies up to 800 activate/deactivate the filter.

high frequencies from 20 knobs activate/deactivate the filter.

StereoDelay is used as a send effect, set these controls to the maximum value (100 with the send.

%) as you can control the dry/effect balance

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Artist

Hz. The buttons below the knobs

kHz down to 1.2 kHz. The buttons below the

Cubase Nuendo NEK

The Included Effect Plug-ins

Ö If side-chaining is supported, the delay can also be controlled from another signal

Distortion Plug-ins

This section contains descriptions of the plug-ins in the “Distortion” category.

AmpSimulator

Distortion Plug-ins

Cubase LECubase AICubase

Elements

Included with

AmpSimulator is a distortion effect, emulating the sound of various types of guitar amp and speaker cabinet combinations. A wide selection of amp and cabinet models is available.

X X X X X X –

Cubase

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Cubase Nuendo NEK

The following parameters are available:

Parameter Description

Amplifier pop-up menu

Drive Controls the amount of amp overdrive.

Bass Tone control for the low frequencies.

Middle Tone control for the mid frequencies.

Treble Tone control for the high frequencies.

Presence Boosts or dampens the higher frequencies.

Volume Controls the overall output level.

This pop-up menu is opened by clicking on the amplifier name shown at the top of the amp section. It allows you to select an amplifier model. The amp section can be bypassed by selecting “No Amp”.

The Included Effect Plug-ins

BitCrusher

Distortion Plug-ins

Parameter Description

Cabinet pop-up menu

Damping Lo/Hi Further tone controls for shaping the sound of the selected speaker

This pop-up menu is opened by clicking on the cabinet name shown at the top of the cabinet section. It allows you to select a speaker cabinet model. This section can be bypassed by selecting “No Speaker”.

cabinet. Click on the values, enter a new value and press the [Enter] key.

Cubase LECubase AICubase

Elements

Included with

If you are into lo-fi sound, BitCrusher is the effect for you. It offers the possibility of decimating and truncating the input audio signal by bit reduction, to get a noisy, distorted sound. For example, you can make a 24-bit audio signal sound like an 8 or 4-bit signal, or even render it completely garbled and unrecognizable.

The following parameters are available:

Parameter Description

Mode Allows you to select one of the four operating modes of BitCrusher.

Sample Divider Sets the amount by which the audio samples are decimated. At the

Depth Defines the bit resolution. A setting of 24 gives the highest audio

Output slider Governs the output level from BitCrusher. Drag the slider upwards to

Mix slider Regulates the balance between the output from BitCrusher and the

X X X X X X –

In each mode the plug-in sounds differently. Modes I and III are nastier and noisier, while modes II and IV are more subtle.

highest setting (65), nearly all of the information describing the original audio signal is eliminated, turning the signal into unrecognizable noise.

quality, while a setting of 1 creates mostly noise.

increase the level.

original audio signal. Drag the slider upwards for a more dominant effect, and downwards if you want the original signal to be more prominent.

Cubase

Artist

Cubase Nuendo NEK

The Included Effect Plug-ins

DaTube

Distortion Plug-ins

Cubase LECubase AICubase

Elements

Included with

This effect emulates the characteristic warm, lush sound of a tube amplifier.

The following parameters are available:

Parameter Description

Drive Regulates the pre-gain of the amplifier. Use high values if you want an

Balance Controls the balance between the signal processed by the Drive

Output Adjusts the post-gain, or output level, of the amplifier.

– X X X X X –

overdriven sound just on the verge of distortion.

parameter and the dry input signal. For maximum drive effect, set this to its highest value.

Cubase

Artist

Cubase Nuendo NEK

Distortion

Cubase LECubase AICubase

Elements

Included with

Distortion adds crunch to your tracks.

The following parameters are available:

Parameter Description

Boost Increases the distortion amount.

Feedback Feeds part of the output signal back to the effect input, increasing the

Tone Lets you select a frequency range to which to apply the distortion

X X X X X X –

distortion effect.

effect.

Cubase

Artist

Cubase Nuendo NEK

The Included Effect Plug-ins

Parameter Description

Spatial Changes the distortion characteristics of the left and right channel,

Output Raises or lowers the signal going out of the effect.

Grungelizer

Distortion Plug-ins

thus creating a stereo effect.

Cubase LECubase AICubase

Elements

Included with

Grungelizer adds noise and static to your recordings – kind of like listening to a radio with bad reception, or a worn and scratched vinyl record. The following parameters are available:

Parameter Description

Crackle Adds crackle to create that old vinyl record sound. The farther to the

RPM switch When emulating the sound of a vinyl record, this switch lets you set

Noise Regulates the amount of static noise added.

Distort Adds distortion.

EQ Turn this knob to the right to cut off the low frequencies, and create a

AC Emulates a constant, low hum of AC current.

Frequency switch Sets the frequency of the AC current (50 or 60 Hz), and thus the

Timeline Regulates the amount of overall effect. The farther to the right (1900)

X X X X X X –

right you turn the knob, the more crackle is added.

the speed of the record in RPM (revolutions per minute).

more hollow, lo-fi sound.

pitch of the AC hum.

you turn the knob, the more noticeable the effect.

Cubase

Artist

Cubase Nuendo NEK

The Included Effect Plug-ins

SoftClipper

Distortion Plug-ins

Cubase LECubase AICubase

Elements

Included with

This effect adds soft overdrive, with independent control over the second and third harmonic.

The following parameters are available:

Parameter Description

Input Regulates the pre-gain. Use high values if you want an overdriven

Mix Setting Mix to 0 means that no processed signal is added to the

Output Adjusts the post-gain, or output level.

Second Adjusts the amount of the second harmonic in the processed signal.

Third Adjusts the amount of the third harmonic in the processed signal.

– – – – X X –

sound just on the verge of distortion.

original signal.

Cubase

Artist

Cubase Nuendo NEK

The Included Effect Plug-ins

VST Amp Rack

Distortion Plug-ins

Cubase LECubase AICubase

Elements

Included with

The VST Amp Rack is a powerful guitar amp simulator. It offers a choice of amplifiers and speaker cabinets that can be combined with stomp box effects.

– – X X X X –

Cubase

Artist

Cubase Nuendo NEK

At the top of the plug-in panel there are six buttons, arranged according to the position of the corresponding elements in the signal chain. These buttons open different pages in the Display section of the plug-in panel: Pre-Effects, Amplifiers, Cabinets, Post-Effects, Microphone Position, and Master.

Below the Display section, the selected amplifier is shown. The color and texture of the area below the amplifier indicate the selected cabinet.

Pre/Post-Effects

On the Pre-Effects and the Post-Effects pages, you can select up to six common guitar effects. On both pages the same effects are available, the only difference being the position in the signal chain (before and after the amplifier). On each page, every effect can be used once.

Each effect features an On/Off button known from stompbox effects, as well as individual parameters. The following effects and parameters are available:

Effect Option Description

Wah Wah Pedal Controls the filter frequency sweep.

Volume Pedal Controls the level of the signal passing through the

Compressor Intensity Changes the intensity of the compressor effect.

effect.

The Included Effect Plug-ins

Distortion Plug-ins

Effect Option Description

Limiter Threshold Determines the maximum output level. Signal levels

above the set threshold are cut off.

Release Sets the time after which the gain returns to the original

level.

Maximizer Amount Determines the loudness of the signal.

Chorus Rate Allows you to set the sweep rate.

This parameter can be synchronized to the project tempo, see

Width Determines the depth of the chorus effect. Higher

settings produce a more pronounced effect.

Phaser Rate Allows you to set the sweep rate.

This parameter can be synchronized to the project tempo, see

Width Determines the width of the modulation effect between

higher and lower frequencies.

Flanger Rate Allows you to set the sweep rate.

This parameter can be synchronized to the project tempo, see

Feedback Determines the character of the flanger effect. Higher

settings produce a more metallic sounding sweep.

Mix Sets the level balance between the dry and the wet

signal.

Tremolo Rate Allows you to set the modulation speed.

This parameter can be synchronized to the project tempo, see

Depth Governs the depth of the amplitude modulation.

Octaver Direct Adjusts the mix of the original signal and the generated

voices. A value of 0 means only the generated and transposed signal is heard. By raising this value, more of the original signal is heard.

Octave 1 Adjusts the level of the signal that is generated one

octave below the original pitch. A setting of 0 means that the voice is muted.

Octave 2 Adjusts the level of the signal that is generated two

octaves below the original pitch. A setting of 0 means that the voice is muted.

Delay Delay Sets the delay time in milliseconds.

This parameter can be synchronized to the project tempo, see

Feedback Sets the number of repeats for the delay.

Mix Sets the level balance between the dry and the wet

signal.

“Sync Mode” on page 18.

The Included Effect Plug-ins

Distortion Plug-ins

Effect Option Description

Tape Delay Delay Tape Delay creates a delay effect known from tape

machines. The Delay parameter sets the delay time in milliseconds. This parameter can be synchronized to the project tempo, see

Feedback Sets the number of repeats for the delay.

Mix Sets the level balance between the dry and the wet

signal.

Tape Ducking Delay

Overdrive Drive Overdrive creates a tube-like overdrive effect. The

Fuzz Boost Fuzz creates a rather harsh distortion effect. The higher

Gate Threshold Determines the level where Gate is activated. Signal

Equalizer Low Changes the level of the low-frequency portion of the

Reverb Type A convolution-based reverb effect. The Type parameter

Delay Tape Ducking Delay creates a delay effect known from

tape machines with a ducking parameter. The Delay parameter sets the delay time in milliseconds. This parameter can be synchronized to the project tempo, see

Feedback Sets the number of repeats for the delay.

Duck Works like an automatic mix parameter. If the level of the

input signal is high, the portion of the effect signal is lowered, or ducked (low internal mix value). If the level of the input signal is low, the portion of the effect signal is raised (high internal mix value). This way the delayed guitar signal stays rather dry during loud or intensely played passages.

higher the Drive value, the more harmonics are being added to the output signal of this effect.

Tone Works as a filter effect on the added harmonics.

Level Adjusts the output level.

the Boost value, the more distortion is being created.

Tone Works as a filter effect on the added harmonics.

Level Adjusts the output level.

levels above the set threshold trigger the gate to open, and signal levels below the set threshold close the gate.

Release Sets the time after which the gate closes.

incoming signal.

Middle Changes the level of the mid-frequency portion of the

incoming signal.

High Changes the level of the high-frequency portion of the

incoming signal.

allows you to switch between different reverb types (Studio, Hall, Plate, and Room).

Mix Sets the level balance between the dry and the wet

signal.

“Sync Mode” on page 18.

The Included Effect Plug-ins

Distortion Plug-ins

Sync Mode

For some controls, the sync mode can be activated to synchronize the corresponding parameter with the tempo of the host application. These plug-in parameters are then used to specify the base note value for tempo syncing (1/1 to 1/32, straight, triplet, or dotted).

The names of these parameters are underlined. Click a knob to activate or deactivate tempo sync. An LED at the top right of the knob indicates that Sync mode is active. You can then select a base note value for tempo syncing from the pop-up menu above the control.

Using Effects

• To insert a new effect, click the plus button that appears when you point the

mouse at an empty plug-in slot or at one of the arrows before or after a used effect slot.

• To remove an effect from an effect slot, click the effect name and select “None” from the pop-up menu.

• To change the order of the effects in the chain, click on an effect and drag it to another position.

• To activate or deactivate an effect, click the pedal-like button below the effect name.

When an effect is active, the LED next to the button is lit.

Amplifiers

Pre-effects and post-effects can be mono or stereo, depending on the track configuration.

Ö Using quick controls you can conveniently set up an external MIDI device such as a

foot controller to control the VST Amp Rack effects. For more information about quick controls, see the Operation Manual.

The amps available on the Amplifiers page were modeled on real-life amplifiers. Each amp features settings typical for guitar recording, such as gain, equalizers, and master volume. The sound-related parameters Bass, Middle, Treble, and Presence have a significant impact on the overall character and sound of the corresponding amp.

The following amp models are available:

- Plexi – Classic British rock tone; extremely transparent sound, very responsive.

- Plexi Lead – British rock tone of the 70’s and 80’s.

- Diamond – The cutting edge hard rock and metal sounds of the 90’s.

- Blackface – Classic American clean tone.

- Tweed – Clean and crunchy tones; originally developed as a bass amp.

- Deluxe – American crunch sound coming from a rather small amp with a big tone.

- British Custom – Produces the sparkling clean or harmonically distorted rhythm sounds of the 60’s.

The different amps keep their settings when you switch models. However, if you want to use the same settings after reloading the plug-in, you need to set up a preset.

Using Amplifiers

• To switch amps on the Amplifiers page, click the model that you want to use.

Select “No Amplifier” if you only want to use the cabinets and effects.

The Included Effect Plug-ins

Cabinets

The cabinets available on the Cabinets page simulate real-life combo boxes or speakers. For each amp, a corresponding cabinet type is available. However, you can combine amps and cabinets at will.

Using Cabinets

• To switch cabinets on the Cabinets page, click the model that you want to use.

Select “No Cabinet” if you only want to use the amps and effects.

• If you select “Link Amplifier & Cabinet Choice”, the plug-in automatically selects the cabinet corresponding to the selected amp model.

Microphone Position

On the Microphone Position page, you can choose between 7 positions to place the microphone. These positions result from two different angles (center and edge) and three different distances from the speaker, as well as an additional center position at an even greater distance from the speaker.

You can choose between two microphone types: a large-diaphragm condenser microphone and a dynamic microphone. Crossfading between the characteristics of the two microphones is also possible.

Distortion Plug-ins

Master

Placing the Microphone

• To select a microphone position, click the corresponding ball in the graphic.

The selected position is marked in red.

• To select one of the microphone types or blend between the two types, turn the Mix control between the two microphones.

Use the Master page to fine-tune the sound.

Input/Output Level Meters

The input and output level meters on the left and the right of the Master section show the signal level of your audio. The rectangle on the input meter indicates the optimum incoming level range. In compact view, the input and output levels are indicated by two LEDs at the top left and right.

Using the Master Controls

• To activate/deactivate the Equalizer, click the pedal-like On/Off button.

When the Equalizer is active, the LED next to the button is lit.

• To activate/deactivate an equalizer band, click the corresponding Gain knob. When a band is active, the LED to the left of the Gain knob is lit.

• To tune your guitar strings, click the pedal-like On/Off button to activate the Tuner and play a string.

When the correct pitch is displayed and the row of LEDs below the digital display is green, the string is tuned correctly. The more red LEDs on the left/right are lit, the lower/higher the pitch.

• To mute the output signal of the plug-in, click the pedal-like Master button. When the LED is off, the output is muted. Use this to tune your guitar in silence, for

example.

• To change the volume of the output signal, use the Level control in the Master section.

The Included Effect Plug-ins

• To process the pre-effects, the amplifier, and the cabinets in full stereo mode, make sure that the plug-in is inserted on a stereo track, and activate the Stereo button.

View Settings

Two different views for the VST Amp Rack plug-in panel are available: the default view and a compact view, which takes up less screen space.

In the default view, you can use the top buttons to open the corresponding page in the Display section above the amp controls. You can horizontally resize the plug-in panel by clicking and dragging the edges or corners.

In the compact view the page display is hidden from view. You can still change the amp settings and switch amps or cabinets using the mouse wheel.

Using the Smart Controls

Smart controls become visible on the plug-in frame when the mouse pointer is positioned on the plug-in panel.

Switching between Default and Compact View

• To toggle between the different views, click the down/up arrow button

(Show/Hide Extended Display) at the top center of the plug-in frame.

Distortion Plug-ins

Changing the Amplifier and Cabinet Selection in the Compact View

In the compact view, a smart control on the lower border of the plug-in frame allows you to select different amplifier and cabinet models.

• To select a different amplifier or cabinet, click the name and select a different model from the pop-up menu.

• To lock the amplifier and cabinet combination, activate the “Link/Unlink Amplifier & Cabinet Choice” button.

If you now select another amp model, the cabinet selection follows. However, if you select a different cabinet model, the lock is deactivated.

Previewing Effect Settings

In both views, you can show a preview of the pre- and post-effects that you selected on the corresponding pages:

• Click and hold the “Show Pre-Effects” or “Show Post-Effects” button at the bottom left or right of the plug-in frame.

The Included Effect Plug-ins

Dynamics Plug-ins

This section contains descriptions of the plug-ins in the “Dynamics” category.

Brickwall Limiter

Dynamics Plug-ins

Cubase LECubase AICubase

Elements

Included with

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 plug-in creates a latency of 1ms. Brickwall Limiter features separate meters for input, output, and the amount of limiting. Position this plug-in at the end of the signal chain, before dithering.

The following parameters are available:

– – – X X X –

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Parameter Description

Threshold (-20 to 0 dB)

Release (10 to 1000 ms or Auto mode)

Link button If this button is activated, Brickwall Limiter uses the channel with the

Detect Intersample Clipping

Ö Brickwall Limiter is designed for the reduction of occasional peaks in the signal. If the

Gain Reduction meter indicates constant limiting, try raising the threshold or lowering the overall level of the input signal.

Only signal levels above the set threshold are processed.

Sets the time after which the gain returns to the original level when the signal drops below the threshold. If the Auto button is activated, Brickwall Limiter automatically finds the optimal release setting, depending on the audio material.

highest level to analyze the input signal. If the Link button is deactivated, each channel is analyzed separately.

In this mode, Brickwall Limiter detects and limits signal levels between two samples to prevent distortion when converting digital signals to analog.

The Included Effect Plug-ins

Compressor

Dynamics Plug-ins

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Elements

Included with

Side-chain support

Compressor reduces the dynamic range of the audio, making softer sounds louder or louder sounds softer, or both. Compressor features separate controls for threshold, ratio, attack, hold, release, and make-up gain parameters. Compressor features a separate display that graphically illustrates the compressor curve shaped according to the Threshold and Ratio parameter settings. Compressor also features a Gain Reduction meter that shows the amount of gain reduction in dB, Soft knee/Hard knee compression modes and a program-dependent Auto feature for the Release parameter.

The following parameters are available:

– – X X X X –

– – – X X X –

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Parameter Description

Threshold (-60 to 0 dB)

Ratio (1:1 to 8:1)

Soft Knee button If this button is off, signals above the threshold are compressed

Make-up (0 to 24 dB or Auto mode)

Attack (0.1 to 100 ms)

Hold (0 to 5000 ms)

Determines the level where Compressor kicks in. Signal levels above the set threshold are affected, but signal levels below are not processed.

Determines the amount of gain reduction applied to signals above the set threshold. A ratio of 3:1 means that for every 3 increases, the output level increases by only 1

instantly according to the set ratio (hard knee). When Soft Knee is activated, the onset of compression is more gradual, producing a less drastic result.

Compensates for output gain loss, caused by compression. If the Auto button is activated, the knob becomes dark and the output is automatically adjusted for gain loss.

Determines how fast Compressor responds to signals above the set threshold. If the attack time is long, more of the early part of the signal (attack) passes through unprocessed.

Sets the time the applied compression affects the signal after exceeding the threshold. Short hold times are useful for DJ-style ducking, while longer hold times are required for music ducking, for example, when working on a documentary film.

dB the input level

dB.

The Included Effect Plug-ins

Dynamics Plug-ins

Parameter Description

Release (10 to 1000 ms or Auto mode)

Analysis (0 to 100) (Pure Peak to Pure RMS)

Live button When this button is activated, the look-ahead feature of Compressor is

Ö If side-chaining is supported, the compression can also be controlled from another

signal source via the side-chain input. When the side-chain signal exceeds the threshold, the compression is triggered. For a description of how to set up side-chain routing, see the Operation Manual.

Sets the time after which the gain returns to the original level when the signal drops below the threshold. If the Auto button is activated, Compressor automatically finds an optimal release setting that varies depending on the audio material.

Determines whether the input signal is analyzed according to peak or RMS values (or a mixture of both). A value of 0 is pure peak and 100

pure RMS. RMS mode operates using the average power of the audio signal as a basis, whereas Peak mode operates more on peak levels. As a general guideline, RMS mode works better on material with few transients such as vocals, and Peak mode better for percussive material, with a lot of transient peaks.

disengaged. Look ahead produces more accurate processing, but adds a certain amount of latency as a trade-off. When Live mode is activated, there is no latency, which might be better for live processing.

DeEsser

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Elements

Included with

A de-esser reduces excessive sibilance, primarily for vocal recordings. Basically, it is a special type of compressor that is tuned to be sensitive to the frequencies produced by the “s” sound, hence the name de-esser. Close proximity microphone placement and equalizing can lead to situations where the overall sound is just right, but there is a problem with sibilants.

The following parameters are available:

– – – – X X –

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Parameter Description

Reduction Controls the intensity of the de-essing effect.

Threshold When the Auto option is deactivated, you can use this control to set

a threshold for the incoming signal level, above which the plug-in starts to reduce the sibilants.

The Included Effect Plug-ins

Dynamics Plug-ins

Parameter Description

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 such a file, set the threshold manually.

Release Sets the time after which the de-essing effect returns to zero when

the signal drops below the threshold.

Level meters Indicate the dB values of the input (IN) and output (OUT) signals as

well as the value by which the level of the sibilant (or s-frequency) is reduced (GR). The gain reduction meter shows values between 0 (no reduction) and -20 20

dB).

Positioning the DeEsser in the Signal Chain

When recording a voice, the de-esser’s position in the signal chain is usually located after the microphone pre-amp and before a compressor/limiter. This keeps the compressor/limiter from unnecessarily limiting the overall signal dynamics.

dB peak level). To reduce the sibilants in

dB (the s-frequency level is lowered by

EnvelopeShaper

Included with

Side-chain support

EnvelopeShaper can be used to attenuate or boost the gain of the attack and release phase of audio material. You can either use the knobs or drag the breakpoints in the graphical display to change parameter values. Be careful with levels when boosting the gain and if needed reduce the output level to avoid clipping.

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Elements

– – – X X X –

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The following parameters are available:

Parameter Description

Attack (-20 to 20 dB) Changes the gain of the attack phase of the signal.

Length (5 to 200 ms) Determines the length of the attack phase.

Release (-20 to 20 dB) Changes the gain of the release phase of the signal.

Output (-24 to 12 dB) Sets the output level.

The Included Effect Plug-ins

Ö If side-chaining is supported, the effect can also be controlled from another signal

Expander

Dynamics Plug-ins

source via the side-chain input. When the side-chain signal exceeds the threshold, the effect is triggered. For a description of how to set up side-chain routing, see the Operation Manual.

Cubase LECubase AICubase

Elements

Included with

Side-chain support

Expander reduces the output level in relation to the input level for signals below the set threshold. This is useful when you want to enhance the dynamic range or reduce the noise in quiet passages. You can either use the knobs or drag the breakpoints in the graphical display to change the Threshold and the Ratio parameter values.

The following parameters are available:

– – – – X X –

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Parameter Description

Threshold (-60 to 0 dB)

Ratio (1:1 to 8:1)

Soft Knee button If this button is off, signals below the threshold are expanded instantly

Attack (0.1 to 100

Hold (0 to 2000

Release (10 to 1000 ms or Auto mode)

ms)

Determines the level where expansion kicks in. Signal levels below the set threshold are affected, but signal levels above are not processed.

Determines the amount of gain boost applied to signals below the set threshold.

according to the set ratio (hard knee). When “Soft Knee” is activated, the onset of expansion is more gradual, producing a less drastic result.

Determines how fast Expander responds to signals below the set threshold. If the attack time is long, more of the early part of the signal (attack) passes through unprocessed.

Sets the time the applied expansion affects the signal below the threshold.

Sets the time after which the gain returns to the original level when the signal exceeds the threshold. If the Auto button is activated, Expander automatically finds an optimal release setting that varies depending on the audio material.

The Included Effect Plug-ins

Gate

Dynamics Plug-ins

Parameter Description

Analysis (0 to 100) (Pure Peak to Pure RMS)

Live button When this button is activated, the look-ahead feature of Expander is

Ö If side-chaining is supported, the expansion can also be controlled from another signal

source via the side-chain input. When the side-chain signal exceeds the threshold, the expansion is triggered. For a description of how to set up side-chain routing, see the Operation Manual.

Determines whether the input signal is analyzed according to peak or RMS values (or a mixture of both). A value of 0 is pure peak and 100

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Elements

Included with

Side-chain support

Gating, or noise gating, silences audio signals below a set threshold level. As soon as the signal level exceeds the set threshold, the gate opens to let the signal through.

The following parameters are available:

Parameter Description

Threshold (-60 to 0 dB)

State LED Indicates whether the gate is open (LED lights up in green), closed

Filter section (LP,

BP, and HP)

– – – X X X –

Determines the level where Gate is activated. Signal levels above the set threshold trigger the gate to open, and signal levels below the set threshold close the gate.

(LED lights up in red), or something in between (LED lights up in yellow).

When the Side-Chain button is activated, you can use these buttons to set the filter type to low-pass, band-pass, or high-pass.

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The Included Effect Plug-ins

Dynamics Plug-ins

Parameter Description

Side-Chain button Activates the side-chain filter. The input signal can then be shaped

according to set filter parameters. Internal side-chaining can be useful for tailoring how the gate operates.

Center (50 to 20000

Hz)

Q-Factor (0.01 to

10000)

Monitor button Allows you to monitor the filtered signal.

Attack (0.1 to 1000

ms)

Hold (0 to 2000 ms)

Release (10 to 1000 ms or Auto mode)

Analysis (0 to 100) (Pure Peak to Pure RMS)

Live button When this button is activated, the look-ahead feature of Gate is

When the Side-Chain button is activated, this sets the center frequency of the filter.

When the Side-Chain button is activated, this sets the resonance of the filter.

Sets the time after which the gate opens after being triggered. Deactivate the Live button to make sure that the gate is already open when a signal above the threshold level is played back. Gate manages this by looking ahead in the audio material, checking for signals loud enough to pass the gate.

Determines how long the gate stays open after the signal drops below the threshold level.

Sets the time after which the gate closes (after the set hold time). If the Auto button is activated, Gate finds an optimal release setting, depending on the audio material.

Determines whether the input signal is analyzed according to peak or RMS values (or a mixture of both). A value of 0 is pure Peak and 100

Ö If side-chaining is supported, the gate can also be controlled from another signal source

via the side-chain input. When the side-chain signal exceeds the threshold, the gate opens. For a description of how to set up side-chain routing, see the Operation Manual.

The Included Effect Plug-ins

Limiter

Dynamics Plug-ins

Cubase LECubase AICubase

Elements

Included with

Limiter is designed to ensure that the output level never exceeds a set output level, to avoid clipping in following devices. Limiter can adjust and optimize the Release parameter automatically according to the audio material, or it can be set manually. Limiter also features separate meters for the input, output and the amount of limiting (middle meters).

The following parameters are available:

– X X X X X –

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Parameter Description

Input (-24 to +24 dB)

Output (-24 to +6 dB)

Release (0.1 to 1000 ms or Auto mode)

Adjusts the input gain.

Determines the maximum output level.

Sets the time after which the gain returns to the original level. If the Auto button is activated, Limiter automatically finds an optimal release setting that varies depending on the audio material.

The Included Effect Plug-ins

Maximizer

Dynamics Plug-ins

Cubase LECubase AICubase

Elements

Included with

Maximizer raises the loudness of audio material without the risk of clipping. Optionally, there is a soft clip function that removes short peaks in the input signal and introduces a warm tube-like distortion to the signal.

The following parameters are available:

Parameter Description

Output (-24 to +6 dB)

Optimize (0 to 100)

Soft Clip button When this button is activated, Maximizer starts limiting (or clipping) the

– – – X X X –

Determines the maximum output level. Should normally be set to 0 to avoid clipping.

Determines the loudness of the signal.

signal softly, at the same time generating harmonics which add a warm, tube-like characteristic to the audio material.

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The Included Effect Plug-ins

MIDI Gate

Dynamics Plug-ins

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Elements

Included with

Gating, in its fundamental form, silences audio signals below a set threshold level. 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 not triggered by threshold levels, but MIDI notes. Hence it needs both audio and MIDI data to function.

Setting up

To set up MIDI Gate, proceed as follows:

1. Select the audio to be affected by MIDI Gate. This can be audio material from any audio track, or even a live audio input

(provided you have a low latency audio card).

2. Select MIDI Gate as an insert effect for the audio track. The MIDI Gate control panel opens.

3. Select a MIDI track to control the MIDI Gate effect. This can be an empty MIDI track or a MIDI track containing data, it does not matter.

However, if you wish to use MIDI Gate in realtime – as opposed to using a recorded part – the track has to be selected for the effect to receive the MIDI output.

– – – X X X –

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4. Open the “Output Routing” pop-up menu for the MIDI track and select the “MIDI Gate” option.

The MIDI output from the track is now routed to the MIDI Gate effect.

What to do next depends on whether you are using live or recorded audio and whether you are using realtime or recorded MIDI. We assume for the purposes of this manual that you are using recorded audio, and play the MIDI in realtime.

5. Make sure the MIDI track is selected, and start playback.

6. Play a few notes on your MIDI keyboard.

As you can hear, the audio track material is affected by what you play on your MIDI keyboard.

The Included Effect Plug-ins

+ 183 hidden pages

Pinnacle Systems Pro Tools AI 7, Cubase Artist - 7.0, Cubase 7.0 Reference Guide

Table of Contents

Introduction

Delay Plug-ins

The Included Effect Plug-ins

ModMachine

MonoDelay

PingPongDelay

StereoDelay

Distortion Plug-ins

AmpSimulator

BitCrusher

DaTube

Distortion

Grungelizer

SoftClipper

VST Amp Rack

Dynamics Plug-ins

Brickwall Limiter

Compressor

DeEsser

EnvelopeShaper

Expander

Gate

Limiter

Maximizer

MIDI Gate