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

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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

Cubase LECubase AICubase

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

Dynamics Plug-ins

The following MIDI Gate parameters are available:

Parameter Description

Attack Determines how long it takes for the gate to open after receiving a

signal that triggers it.

Hold Regulates how long the gate remains open after a note-on or note-off

message (see Hold Mode).

Release Determines how long it takes for the gate to close (in addition to the

value set with the Hold parameter).

Note To Attack Determines to which extent the velocity values of the MIDI notes

affect the attack. The higher the value, the more the attack time increases with high note velocities. Negative values give shorter attack times with high velocities. If you do not wish to use this parameter, set it to the 0

Note To Release Determines to which extent the velocity values of the MIDI notes

affect the release. The higher the value, the more the release time increases. If you do not wish to use this parameter, set it to the 0

position.

Velocity To VCA Controls to which extent the velocity values of the MIDI notes

determine the output volume. At a value of 127 the volume is controlled entirely by the velocity values, and at a value of 0 the velocities have no effect on the volume.

Hold Mode Use this switch to set the Hold Mode. In Note-On mode, the gate

only remains open for the time set with the Hold and Release parameters, regardless of the length of the MIDI note that triggered the gate. In Note-Off mode, the gate remains open for as long as the MIDI note plays, and then the Hold and Release parameters are applied.

position.

The Included Effect Plug-ins

MultibandCompressor

Dynamics Plug-ins

Included with

Cubase LECubase AICubase

Elements

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The MultibandCompressor allows a signal to be split into a maximum of four frequency bands, each with its own freely adjustable compressor characteristic. The signal is processed on the basis of the settings that you have made in the Frequency Band and Compressor sections. You can specify the level, bandwidth and compressor characteristics for each band by using the various controls.

The Frequency Band Editor

The Frequency Band editor in the upper half of the panel is where you set the width of the frequency bands as well as their level after compression. Two value scales and a number of handles are available. The vertical value scale to the left shows the input gain level of each frequency band. The horizontal scale shows the available frequency range.

The handles provided in the Frequency Band editor can be dragged with the mouse. You use them to set the corner frequency range and the input gain levels for each frequency bands.

- The handles at the sides are used to define the frequency range of the different frequency bands.

- By using the handles on top of each frequency band, you can attenuate or boost the input gain by ±15

Bypassing Frequency Bands

Each frequency band can be bypassed using the B button in each compressor section.

dB after compression.

Soloing Frequency Bands

A frequency band can be soloed using the S button in each compressor section. Only one band can be soloed at a time.

The Included Effect Plug-ins

Dynamics Plug-ins

Using the Compressor Section

By moving breakpoints or using the corresponding knobs, you can specify the Threshold and Ratio. The first breakpoint from which the line deviates from the straight diagonal is the threshold point.

For each of the four bands the following compressor parameters are available:

Parameter Description

Threshold (-60 to 0 dB)

Ratio (1000 to 8000) (1:1 to 8:1)

Attack (0.1 to 100 ms)

Release (10 to 1000 ms or Auto mode)

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 3000 (3:1) means that for every 3 input level increases, the output level increases by only 1

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 (attack) passes through unprocessed.

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, the compressor automatically finds an optimal release setting that varies depending on the audio material.

dB the

dB.

The Output Control

The Output knob controls the total output level of the MultibandCompressor. The range is from -24 to +24

Tube Compressor

Included with

Side-chain support

dB.

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Elements

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This versatile compressor with integrated tube-simulation allows you to achieve smooth and warm compression effects. The VU meter shows the amount of gain reduction. Tube Compressor features an internal side-chain section that lets you filter the trigger signal.

The Included Effect Plug-ins

Dynamics Plug-ins

The following parameters are available:

Parameter Description

Drive (1.0 to 6.0) Controls the amount of tube saturation.

Input (-24.0 to +48.0)

Limit button Increases the ratio of the compressor for a limiting effect.

Output (-12.0 to +12.0)

Attack (0.1 to 100.0)

Release (10 to 1000 ms or Auto mode)

Mix (0 to 100) Adjusts the mix between dry and processed signal preserving the

In/Out Meters Show the highest peaks of all available input and output channels.

VU Meter Shows the amount of gain reduction.

Side-chain button (if supported)

Filter section (LP,

Side-Chain section: Center

Side-Chain section: Q-Factor

Side-Chain section: Monitor

BP, and HP)

Determines the compression amount. The higher the input gain setting, the more compression is applied.

Sets the output gain.

Determines how fast the compressor responds. If the attack time is long, more of the initial part of the signal (attack) passes through unprocessed.

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

transients of the input signal.

Activates/deactivates the internal side-chain filter. The input signal can then be shaped according to set filter parameters. Internal sidechaining is useful for tailoring how the compressor operates.

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.

Sets the center frequency of the filter.

Sets the resonance or width of the filter.

Allows you to monitor the filtered signal.

The Included Effect Plug-ins

VintageCompressor

Dynamics Plug-ins

Cubase LECubase AICubase

Elements

Included with

Side-chain support

This is modelled after vintage type compressors. This compressor features separate controls for input and output gain, attack, and release. In addition, there is a Punch mode which preserves the attack phase of the signal and a program-dependent Auto feature for the Release parameter.

The available parameters work as follows:

Parameter Description

Input (-24 to 48 dB)

Output (-48 to 24 dB)

Attack (0.1 to 100 ms)

Punch (On/Off)

Release (10 to 1000 ms or Auto mode)

Ratio (2:1, 4:1, 8:1, and 20:1)

VU Meter Shows the amount of gain reduction.

In/Out Meters Show the highest peaks of all available input and output channels.

– – – – X X –

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.

Sets the output gain.

Determines how fast the compressor responds. If the attack time is long, more of the early part of the signal (attack) passes through unprocessed.

When this is activated, the early attack phase of the signal is preserved, retaining the original punch in the audio material, even with short Attack settings.

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

Determines the amount of gain reduction applied to signals above the threshold. A ratio of 4:1 means that for every 4 dB the input level increases, the output level increases by only 1 dB.

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

The Included Effect Plug-ins

VSTDynamics

Limiter

Module Configuration

Gate

Compressor

Dynamics Plug-ins

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Elements

Included with

VSTDynamics is an advanced dynamics processor. It combines three separate processors: Gate, Compressor and Limiter, covering a variety of dynamic processing functions. The window is divided into three sections, containing controls and meters for each processor.

Activating the Individual Processors

X X X X X X –

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You activate the individual processors using the buttons at the bottom of the plug-in panel.

The Gate Section

Gating, or noise gating, is a method of dynamic processing that 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

Side-Chain button (if supported)

Filter section (LP,

BP, and HP)

Center (50 to 22000

Q-Factor (0.001 to

10000)

Monitor (On/Off)

Hz)

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).

Activates the internal side-chain filter. You can use this to filter out parts of the signal that might otherwise trigger the gate in places you not want it to, or to boost frequencies you wish to accentuate, allowing for more control over the gate function.

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.

Sets the center frequency of the filter.

Sets the resonance or width of the filter.

Allows you to monitor the filtered signal.

The Included Effect Plug-ins

Parameter Description

Attack (0.1 to 100 ms)

Hold (0 to 2000 ms)

Release (10 to 1000 ms or Auto mode)

Input gain meter Shows the input gain.

The Compressor section

The compressor reduces the dynamic range of the audio, making softer sounds louder or louder sounds softer, or both. It works like a standard compressor with separate controls for threshold, ratio, attack, release and make-up gain. The compressor features a separate display that graphically illustrates the compressor curve shaped according to the Threshold, Ratio and Make-Up Gain parameter settings. It also features meters for input gain and gain reduction and a program-dependent Auto feature for the Release parameter.

The available parameters work as follows:

Dynamics Plug-ins

Sets the time after which the gate opens after being triggered.

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.

Parameter Description

Threshold (-60 to 0 dB)

Ratio (1:1 to 8:1)

Make-Up (0 to 24 dB)

Attack (0.1 to 100 ms)

Release (10 to 1000 ms or Auto mode)

Graphical display Use the graphical display to graphically set the Threshold and Ratio

Determines the level where the 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

Compensates for output gain loss, caused by compression. When the Auto button is activated, gain loss is being compensated automatically.

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 (attack) passes through unprocessed.

values. To the left and right of the graphical display you find two meters that show the amount of input gain and gain reduction in dB.

dB the input level

dB.

The Included Effect Plug-ins

The Limiter Section

The limiter is designed to ensure that the output level never exceeds a set threshold, to avoid clipping in following devices. Conventional limiters usually require very accurate setting up of the attack and release parameters to prevent the output level from going beyond the set threshold level. The limiter adjusts and optimizes these parameters automatically according to the audio material. You can also adjust the Release parameter manually.

The following parameters are available:

Parameter Description

Output (-24 to +6 dB)

Soft Clip button If this button is activated, the limiter acts differently. When the signal

Release (10 to 1000 ms or Auto mode)

Meters The three meters show the input gain (IN), the gain reduction (GR)

Dynamics Plug-ins

Determines the maximum output level. Signal levels above the set threshold are affected, but signal levels below are left unaffected.

level exceeds -6 softly, at the same time generating harmonics which add a warm, tube-like characteristic to the audio material.

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, the limiter automatically finds an optimal release setting that varies depending on the audio material.

and the output gain (OUT).

dB, Soft Clip starts limiting (or clipping) the signal

The Module Configuration Button

Using the Module Configuration button in the bottom right corner of the plug-in panel, you can set the signal flow order for the three processors. Changing the order of the processors can produce different results, and the available options allow you to quickly compare what works best for a given situation. Simply click the Module Configuration button to change to a different configuration. There are three routing options:

- C-G-L (Compressor-Gate-Limit)

- G-C-L (Gate-Compressor-Limit)

- C-L-G (Compressor-Limit-Gate)

The Included Effect Plug-ins

EQ Plug-ins

This section describes the plug-ins in the “EQ” category.

DJ-EQ

EQ Plug-ins

Cubase LECubase AICubase

Elements

Included with

DJ-Eq is an easy-to-use 3-band parametric equalizer that resembles the EQs found on typical DJ mixers. This plug-in is designed for quick sound fixes.

To set the Low, Mid, and High frequency bands, you can:

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• Move the mouse over the curve display, and click and drag the EQ points.

Press the [Shift] key and drag to adjust the values in smaller steps. Press [Ctrl]/[Command] and click a parameter to set it to zero.

• Click the Gain values and move the mouse up or down to change them.

The following parameters are available:

Parameter Description

Low Gain Sets the amount of attenuation/boost for the low band.

Low Kill (Activates Low Cut)

Mid Gain Sets the amount of attenuation/boost for the mid band.

Mid Kill (Activates Mid Cut)

Hi Gain Sets the amount of attenuation/boost for the high band.

Hi Kill (Activates High Cut)

Output meter Shows the overall output level.

Cuts the low band.

Cuts the mid band.

Cuts the high band.

The Included Effect Plug-ins

GEQ-10/GEQ-30

EQ Plug-ins

Cubase LECubase AICubase

Elements

Included with

These graphic equalizers are identical in every respect except for the number of available frequency bands (10 and 30, respectively). Each band can be attenuated or boosted by up to 12 addition there are several preset modes available which can add color to the sound of the GEQ-10/GEQ-30.

• You can draw response curves in the main display by click-dragging with the mouse.

Note that you have to click on one of the sliders first before dragging across the display. You can also point and click to change individual frequency bands, or enter values numerically by clicking on a gain value at the top of the display.

–/– –/– X/– X/X X/X X/X –/–

dB, allowing for fine control of the frequency response. In

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• At the bottom of the window the individual frequency bands are shown in Hz.

• At the top of the display the amount of attenuation/boost is shown in dB.

Apart from the frequency bands, the following parameters are available:

Parameter Description

Output Controls the overall gain of the equalizer.

Flatten button Resets all the frequency bands to 0 dB.

Range Allows you to relatively adjust how much a set curve attenuates or

boosts the signal. If the Range parameter is turned fully clockwise, the range is ±12

Invert button Inverts the current response curve.

Mode pop-up menu

About the Filter Modes

On the pop-up menu in the lower right corner there are several different EQ modes available. These modes can add color or character to the equalized output in various ways. The following filter modes are available:

Filter mode Description

True Resp Applies serial filters with an accurate frequency response.

The filter mode set here determines how the various frequency band controls interact to create the response curve, see below.

dB.

The Included Effect Plug-ins

StudioEQ

EQ Plug-ins

Filter mode Description

Digi Stand In this mode the resonance of the last band depends on the sample

rate.

Classic Applies a classic parallel filter structure where the response does not

follow the set gain values accurately.

Variable Q Applies parallel filters where the resonance depends on the amount

of gain.

ConstQ u Applies parallel filters where the resonance of the first and last bands

depends on the sample rate.

ConstQ s Applies parallel filters where the resonance is raised when boosting

the gain and vice versa.

Resonant Applies serial filters where a gain increase of one band lowers the

gain in adjacent bands.

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Elements

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StudioEQ is a high-quality 4-band parametric stereo equalizer with two fully parametric mid-range bands. The low and high bands can act as either shelving filters (three types), or as a Peak (band-pass) or Cut (low-pass/high-pass) filter.

Making Settings

1. Click the corresponding On button on the left of the plug-in panel to activate any or all of the 4 equalizer bands (Low, Mid 1, Mid 2, and High).

When a band is activated, the corresponding EQ point appears in the EQ curve display.

2. Set the parameters for an activated EQ band.

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This can be done in several ways:

- By using the knobs.

- By clicking on the numeric values and entering new values.

- By using the mouse to drag points in the EQ curve display.

The Included Effect Plug-ins

EQ Plug-ins

When using the mouse to change the parameter settings, the following modifier keys can be used:

Modifier key Description

– When no modifier key is pressed and you drag an EQ point in the

display, the Gain and Frequency parameters are adjusted simultaneously.

[Shift] Keep the [Shift] key pressed and drag the mouse to change the

Q-factor of the corresponding EQ band.

[Alt]/[Option] Keep the [Alt]/[Option] key pressed and drag the mouse to

change the frequency of the corresponding EQ band.

[Ctrl]/[Command] Keep the [Ctrl]/[Command] key pressed and drag the mouse to

change the gain value of the corresponding EQ band.

The following parameters are available:

Parameter Description

Band 1 Gain (-20 to +24 dB)

Band 1 Inv button Inverts the gain value of the filter. Use this button to filter out

Band 1 Freq (20 to 2000 Hz)

Band 1 Q-Factor (0.5 to 10)

Band 1 Filter mode

Band 2 Gain (-20 to +24 dB)

Band 2 Inv button Inverts the gain value of the filter (see the description of the Invert

Band 2 Freq (20 to 20000 Hz)

Band 2 Q-Factor (0.5 to 10)

Band 3 Gain (-20 to +24 dB)

Band 3 Inv button Inverts the gain value of the filter (see the description of the Invert

Band 3 Freq (20 to 20000 Hz)

Band 3 Q-Factor (0.5 to 10)

Sets the amount of attenuation/boost for the low band.

unwanted noise. When looking for the frequency to omit, it sometimes helps to boost it first (set the filter to positive gain). After you have found it, you can use the Inv button to cancel it out.

Sets the frequency of the low band.

Controls the width or resonance of the low band.

For the low band, you can select between three types of shelving filters, a Peak (band-pass), and a Cut (low-pass/high-pass) filter. When Cut mode is selected, the Gain parameter is fixed.

-Shelf I adds resonance in the opposite gain direction slightly above the set frequency.

-Shelf II adds resonance in the gain direction at the set frequency.

-Shelf III is a combination of Shelf I and II.

Sets the amount of attenuation/boost for the mid 1 band.

button for Band 1).

Sets the center frequency of the mid 1 band.

Sets the width of the mid 1 band: the higher this value, the narrower the bandwidth.

Sets the amount of attenuation/boost for the mid 2 band.

button for Band 1).

Sets the center frequency of the mid 2 band.

Sets the width of the mid 2 band: the higher this value, the narrower the bandwidth.

The Included Effect Plug-ins

EQ Plug-ins

Parameter Description

Band 4 Inv button Inverts the gain value of the filter (see the description of the Invert

button for Band 1).

Band 4 Gain (-20 to +24 dB)

Band 4 Freq (200 to 20000 Hz)

Band 4 Q-Factor (0.5 to 10)

Band 4 Filter mode

Output (-24 to +24 dB)

Auto Gain button When this button is activated, the gain is automatically adjusted,

Spectrum Shows the spectrum before and after filtering.

Reset Resets the EQ settings.

Sets the amount of attenuation/boost for the high band.

Sets the frequency of the high band.

Controls the width or resonance of the high band.

For the high band, you can select between three types of shelving filters, a Peak, and a Cut filter. When Cut mode is selected, the Gain parameter is fixed.

-Shelf I adds resonance in the opposite gain direction slightly below the set frequency.

-Shelf II adds resonance in the gain direction at the set frequency.

-Shelf III is a combination of Shelf I and II.

This knob on the top right of the plug-in panel adjusts the overall output level.

keeping the output level constant regardless of the EQ settings.

The Included Effect Plug-ins

CurveEQ

EQ Plug-ins

Main Layout

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Elements

Included with

Voxengo CurveEQ is a spline equalizer for professional music and audio production applications. CurveEQ shows the filter response you are designing by means of a spline, that is, a smooth curvy line. This way you can see how the EQ alters the sound.

CurveEQ implements spectrum matching technology that allows you to transfer the spectral shape of one recording to another. In other words, you can copy the frequency balance of existing time-proven mixes so that other mixes can be improved. CurveEQ’s filters can be switched between linear-phase and minimum-phase modes. CurveEQ also features a customizable spectrum analyzer. Furthermore, you can display, save, and load static spectrum plots for comparison and matching purposes.

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Title Bar

Parameter Description

Plug-in instance name

Bypass Use this button to compare the sound of the unprocessed signal to

This text box allows you to name the current plug-in instance.

that of the processed signal. The Bypass button does not reduce the plug-in’s CPU load when switched on. The bypass state is not saved between project sessions and is not restored when the project is reloaded.

The Included Effect Plug-ins

EQ Plug-ins

General Control Bar

Parameter Description

Presets selector

Undo Allows you to undo changes.

History Opens a change log that lists up to 32 changes in the order you

Redo Allows you to redo changes that were undone.

A/B button By pressing the A/B button, you can switch between two plug-in

A>B (B>A) button Copies the current plug-in state to the other state (A or B). This is

Reset This is the master reset button. It resets the plug-in to its default

Routing selector The Routing button opens the Channel Routing Window, where you

Save CSV Allows you to save the selected EQ curve in a comma-separated

Load CSV Allows you to load a previously saved CSV file or any externally-

Settings Allows you to change general settings, see “CurveEQ Settings” on

Allows you to store and restore custom settings, see “Main

Preset Manager”

have made them. Parameter changes are logged with the group name in parentheses, for example, “Gain (Ls) change”.

states (A and B).

useful to copy programs between Session Bank slots.

state. The default state can be chosen in the Preset Manager window, see “Preset Manager” on page 54.

can change several routing options. The pop-up menu provides access to common routing options, see “Channel Routing Window” on page 55.

text file. The EQ curve is stored as series of frequency/gain pairs, one per line, in the following form:

20.00,3.00

400.00,2.51

1000.00,1.45 # comment

5000.00,3.40

20000.00,1.05 Each pair defines the position of a single control point on the CurveEQ’s control surface. Write decimal points as a period, not as a comma. Comments can be added at any position, starting with a hash character.

generated EQ curve specification, such as room correction or RIAA phono correction. Frequencies defined in the file should lie between 20 and 20000 Hz.

page 56.

on page 54

EQ Top Control Bar

Parameter Description

Equalizer dB gain range

Lets you change the maximum gain when boosting/decreasing frequencies per band.

The Included Effect Plug-ins

Parameter Description

MIN-Phase Enables minimum-phase filtering instead of linear-phase filtering.

Static & Match Opens the Static Spectrums Editor, where you can display static

Mode selector Allows you to select a mode for spectrum matching, see “Spectrum

Edit Opens the Spectrum Mode Editor, see “Spectrum Mode Editor” on

Main EQ Control Surface

EQ Plug-ins

Minimum-phase filtering sounds better at steeper EQ slopes because it lacks pre-ringing artifacts present in linear-phase filters. Furthermore, it does not add a considerable processing latency.

spectrums and perform spectrum matching. Spectrum matching allows you to match the spectrum shape of a sound recording to that of another sound recording.

Matching” on page 50.

page 51.

The heart of CurveEQ is the equalizer control surface with a built-in real-time spectrum analyzer.

• To add a control point, double-click the curve.

• To delete a control point, double-click it.

The picture above shows the equalizer control surface with control points that can be dragged with the left mouse button to adjust the filter’s gain and frequency. For more precise adjustments, hold [Shift] while dragging.

The readouts show the mouse cursor position within the display, the musical note and detune in cents that correspond to the frequency position, and the mouse cursor position within the spectrum power range.

If two or three curves are displayed, a white curve shows the summary frequency response of all currently enabled filters.

While dragging a control point with the left mouse button, you can adjust the filter’s bandwidth by additionally holding the right mouse button or pressing [Alt]/[Option]. Alternatively, you can use the mouse wheel to adjust the filter’s bandwidth.

• To enable the gain adjustment only, press [Ctrl]/[Command] while dragging a point.

• To enable frequency adjustment only, press [Ctrl]/[Command]-[Alt]/[Option].

• To set a control point to 0 dB, press [Ctrl]/[Command], and double-click it.

The Included Effect Plug-ins

EQ Plug-ins

Equalizer – Group Editing

You can perform editing operations on a group of control points.

• To select several control points, click inside the equalizer control surface and drag a rectangle over the control points that you want to select.

• To select all control points at once, right-click the control surface.

• To deselect any currently selected points, click in the control surface.

• To add control points to the current selection, press [Shift] and click the control

points that you want to add.

• To remove control points from the selection, hold [Shift] and click the control point that you want to remove.

For group editing, the following buttons are available:

Option Description

Up/down arrow button

Inv Inverts the gain of the selected control points.

Reset Resets the current filter to its default state.

Equalizer – Spectrum

The equalizer control surface can display the Fourier spectrum analysis plot. The spectrum analysis and the display of parameters can be selected via the Mode selector. The Spectrum Mode Editor can be used to customize these parameters further. You can also click the control surface anywhere to reset the spectrum analysis display.

A red vertical line is displayed if the visible frequency range is wide. This line shows the maximum frequency of the input signal and depends on the input sample rate. Note that until you start the audio playback, the red line cannot be placed correctly, because the plug-in does not know the correct input sample rate before the audio processing is started.

By default, Voxengo plug-ins use a slope value of 4.5 dB per octave for the spectrum display. This setting can be changed in the Spectrum Mode Editor window.

To zoom in on the spectrum’s peak values, [Alt]/[Option]-click and drag a selection rectangle.

If the spectrum does not fit the display, adjust the visible spectrum range in the Spectrum Mode Editor.

Allows you to scale the gain of the selected control points.

Equalizer – Narrow-Band Sweeping

To highlight the resonances in the sound, you can enable the narrow-band sweeping function by pressing [Ctrl]/[Command] and dragging in the control surface with the left mouse button. As a result of this action, the curve of the band-pass filter only passes the selected frequency range. You can adjust the bandwidth of the filter with the mouse wheel.

The Included Effect Plug-ins

EQ Plug-ins

The band-pass filter’s curve is applied on top of the existing equalizer curve. This means that the curve you see when engaging the narrow-band sweeping is composed of the existing equalizer curve and band-pass filter’s own equalizer curve.

Zooming

• To zoom into the spectrum display, press [Alt]/[Option] and drag the control

surface.

• To zoom out of the spectrum display, press [Alt]/[Option] and double-click the control surface.

Scrollbar

The horizontal and vertical scrolling controls feature zooming functionality. The scrollbars are found at the sides of the equalizer control surface.

The diamond-shaped button between a horizontal and vertical scrollbar can be used to control the positions of both scrollbars at once in a single X-Y coordinate space.

You can double-click scrollbars and diamond-shaped buttons to quickly switch between the zoomed and non-zoomed views of the control surface.

EQ Bottom Control Bar

Parameter Description

Hide Points Hides the control points, which allows you to evaluate the EQ curve

Freeform Enables freeform mode, in which you can draw the EQ curve

Curve 1/2/3 You can define up to 3 equalizer curves for every channel group.

Underlay Allows you to select another EQ curve from any other channel

Up/down arrow button

Inv Inverts the current EQ curve.

Copy To Copies the envelope to the same envelope in another group.

Reset Resets the current EQ curve to its default state.

more precisely.

manually by drawing on the control surface with the left mouse button. Note that switching to freeform mode and back can be destructive and some EQ curve features can be lost.

This is useful when you are using spectrum matching. For example, you can apply a matching EQ curve generated automatically and at the same time apply any additional EQ curve that you draw manually. Note that CurveEQ has a lower resolution at the frequencies below 200 Hz. At these frequencies, the EQ curve does not always follow the control point positions.

group that is displayed as an underlay.

Allows you to scale the gain of the EQ curve.

The Included Effect Plug-ins

Group Bar and Hint Line

Parameter Description

Group 1/2/3/4 These buttons represent the channel groups. You can select the

Solo Allows you to solo the output of the selected group. The state of the

Copy To Allows you to copy parameter settings defined for the selected

Reset Resets the parameters of the active group.

Ö Note that the group bar is not visible if the “Min Infrastructure” option in the Settings

window is activated. In that case, you can use the Routing selector to select a channel group.

EQ Plug-ins

channel group whose parameters are being edited or monitored. Only groups that are assigned to the internal channels in the Channel Routing window are shown.

Solo button is not saved between project sessions and is not restored when the project is reloaded.

channel group to another channel group.

Channel Group List

CurveEQ shows a list of input channels that are routed to the selected channel group. This list is connected to the Channel Routing window and displays routing settings defined by it. Internal channel names (A, B, C, etc.) that accept the corresponding input channel are displayed in a superscript style. These internal channel names are also displayed on the level meters. If more than one input channel is routed to the same internal channel, the sum is displayed in the form “(IN1+IN2)”.

When the internal channel is assigned to a mid/side group, its input channels are written in parentheses with the “m” (mid) or “s” (side) prefix. For example, “s(IN1 & IN2)” means “side part of the mid/side pair consisting of IN1 and IN2 input channels”.

Hint Line

This interface element displays hint messages and can also display other informational messages. The hint line can be disabled in the Settings window.

The Included Effect Plug-ins

Level Meter

EQ Plug-ins

The level meter shows several bars that correspond to the channels (A, B, etc.) of the selected channel group. The level meter displays all available channels if the “Show All Channel Meters” button is activated in the Channel Routing window.

Level meters can show a small horizontal white bar that represents the peak level. In output level meters, such as peak level, it can turn red. This means that the output level has entered the area above the 0 plug-in is inserted at the final position in the signal chain of the host application. If the plug-in is inserted in an intermediate position, that is, before other plug-ins, clipping does not necessarily occur.

Level meter ballistics and peak level hold time can be defined for all instances of the plug-in in the Settings window.

dBFS signal level and clipping can occur if the

Output level meters usually feature a “Out/In” display, showing the difference in RMS level between the input and output signals of the plug-in.

Spectrum Matching

With CurveEQ you can match the sound of any audio track to another, whether it is your to-die-for guitar intro or your favorite kick drum sample.

All spectrum related functions are located in the “Static & Match” display.

Ö Spectrum matching uses parameters specified in the Spectrum Mode Editor. Only

spectrums present in static spectrum slots can be used for matching. The usual realtime primary and secondary spectrums are not used for matching, unless taken as snapshots by means of the Take or “Take 2nd” buttons, respectively.

When you perform spectrum matching it is suggested to set the Type selector in the Spectrum Mode Editor to “Avg”, so that average spectrum is used for matching. You must run the averaging for several seconds until the visible spectrum becomes smooth enough. After achieving the required spectrum shape on the screen you can click the Take (or “Take 2nd”) button in the static spectrum slot to store this spectrum for matching purposes.

You need at least two spectrum snapshots in two slots for matching. The spectrum that you want to equalize and the reference spectrum should be marked with the “Apply To” and “Reference” switches, respectively. You can define more than one “Apply To” or “Reference” spectrum. In that case the mean value of the spectrums is used.

The Included Effect Plug-ins

The Points parameter specifies how many equidistant points to use for matching. The

more points you use the more precise the match will be. However, in many cases more precise match does not mean a better sounding match. It is suggested to try several values to determine which one sounds best.

The EQ curve present on the screen affects the spectrum averaging process, so the EQ curve should be flat when spectrum data is being collected.

Ö The static spectrum’s gain shift has no effect on the matching process.

Spectrum Mode Editor

Spectrum matching options are placed in the Spectrum Mode Editor, which can be opened by clicking the Edit button on the EQ top control bar.

EQ Plug-ins

Parameter Description

Spectrum Disable Disables the spectrum analysis function of the plug-in.

Filled Display Enables additional semi-transparent filling of the spectrum display.

2nd Spectrum Enables the secondary spectrum curve, which is displayed in a

darker color.

Type selector Allows you to select a spectrum analysis type. The “RT Avg” mode

applies realtime spectrum averaging analysis. This type of analysis produces an RMS-averaged spectrum over the period specified by the “AVG Time” parameter. The analysis type “Max” produces a cumulative maximum power spectrum. The “Avg” type produces a cumulative average power spectrum. The “RT Max” mode produces a realtime maximum spectrum with spectrum fall-down. For better spectrum maximum estimate, use a higher Overlap setting. If you need an infinite peak hold, use the “Max” analysis type.

The Included Effect Plug-ins

EQ Plug-ins

Parameter Description

Block Size Specifies the block size of the FFT (fast Fourier transform) spectrum

analyzer. Higher block sizes provide more resolution in the lower frequency range, but decrease time coherence (time precision) in the higher frequency range; the higher frequency information becomes over-averaged. Also, at higher block size settings the spectrum is refreshed less frequently. This can be compensated by increasing the Overlap parameter. When working at increasingly higher sample rates, you need to increase the block size value, because the setting is used over the full spectral bandwidth. Therefore, at higher sample rates the analyzer’s resolution in the visible frequency range will be lower for the given block size. If you want to measure the frequency of a low-frequency sound such as a drum or bass guitar precisely, use a higher “Block Size” value along with a higher Overlap value. In order to avoid clicks and glitches in playback when using high “Block Size” values, you need to increase the audio buffer size in your host application.

2nd Type

Overlap Controls the overlap between the adjacent FFT spectrum analysis

AVG Time Specifies the average (fall-down) time used when the “RT Avg” or

Smoothing Lets you select the smoothing function’s resolution in octaves.

Freq Low/Freq High Specify the visible frequency range of the spectrum view.

Range Low/Range High

Slope Allows you to adjust slope in the spectrum analyzer display around

If “2nd Spectrum” is activated, you can use this pop-up menu to select an analysis type for the secondary spectrum. For example, by setting the “2nd Type” to “RT Max” and “Type” to “RT Avg”, you can see the average and maximum spectrums simultaneously. Note that the secondary spectrum uses the same “Block Size” and “Avg Time” values as the primary spectrum.

windows. Higher overlap values allow spectrum to be updated more frequently at the expense of a higher CPU load.

“RT Max” analysis is active. This value specifies after how many milliseconds the spectrum level falls down by 20 dB.

Smoothing produces a drop of 6 dB per octave when stationary sine wave signals are used. For example, even if the signal consists of 2 sine waves (1 kHz and 2 kHz) of equal peak amplitude, the 2 kHz sine wave looks like it is 6 dB quieter. This happens because the fast Fourier transform produces a narrower spectrum for highfrequency stationary signals in comparison to low-frequency stationary signals. This drop does not appear when non-stationary (musical) signals are analyzed.

Specify

1 kHz. Skewing the spectrum can be useful because higher frequencies usually have weaker power in comparison to the lower frequencies. By choosing an appropriate spectrum slope, you can compensate for this fact.

the accessible spectrum power range.

The Included Effect Plug-ins

Static Spectrums Editor

CurveEQ features a static spectrum display that can be controlled via the Static Spectrums Editor.

You can select the display name of the spectrum slot, its color, and the shift in dB of the static spectrum. The static spectrum can be shown or hidden using the visibility checkbox. The shift in dB can be used for a more convenient placing of the static spectrum on the screen and it does not affect the shape of the spectrum.

EQ Plug-ins

Parameter Description

Take/Take 2nd These buttons take a snapshot of the primary or secondary

spectrum, respectively. The static spectrum snapshots are taken using the spectrum parameters specified in the Spectrum Mode Editor. Before taking a spectrum, choose a spectrum analysis type via the Spectrum Mode Editor, usually “Avg” or “Max”, and analyze long enough so that the spectrum becomes general enough. When analyzing a song, it is recommended to store separate spectrums for verse, chorus, and bridge parts, as they can have distinctively differing spectral balance. If no snapshot is taken after pressing a Take button, no spectrum is available. You either have to configure the spectrum mode or start the audio playback first.

Load/Save You can save the spectrum in a static spectrum slot as a spectrum

file with the extension .csf (compressed spectrum file).

X Resets the spectrum in the selected slot.

The Included Effect Plug-ins

Preset Manager

Main Preset Manager

You can use the main preset manager to save and load plug-in state presets.

Presets in the main preset manager are shared among all instances of the same Voxengo plug-in. All presets within the main preset manager are stored in user preset banks. Beside user preset banks two special banks exist: the Session Bank and Factory ROM bank.

The Session Bank contains programs rather than presets. Each program in the Session Bank contains its own undo/redo change log. The Session Bank lists programs that mirror programs of the host application. When you activate a program in the Session Bank, the program in the host application switches.

EQ Plug-ins

The Factory ROM bank contains presets that cannot be changed. The Factory ROM bank is loaded into the Session Bank every time a new instance of the plug-in is created in the host application.

The main preset manager contains the following control buttons:

Parameter Description

+/- Allow you to add and remove a bank or preset. Right-clicking the

plus button (+) inserts the preset at the current list position rather than at the end of the list.

Load/Save Allow you to save and load the bank or preset to and from a file.

U Updates the selected preset with the current plug-in state.

Set as Default Makes the selected preset the default preset. The default preset is

loaded every time a new plug-in instance is created in the host application or when the master Reset button is pressed. If you want to restore the original default preset, select the “Default” preset in the Factory ROM bank and click the “Set as Default” button.

Activate Loads the selected preset. You can also double-click a preset

name.

Ö Voxengo plug-ins use a proprietary format to store presets and preset banks. Add a

meaningful prefix to bank and preset file names so that you do not mix up presets created in different Voxengo plug-ins. Voxengo plug-in preset files have the extension .cpf, preset bank files the extension .cbf.

To rename a preset or bank, select it and after a small delay click the item again.

The Included Effect Plug-ins

Channel Routing Window

In the Channel Routing window, the following options are available:

Parameter Description

Routing Presets Opens a window that contains presets for the Channel Routing

Show all Channel Meters

Input and Output Routing

Mid/Side Pairs Allow you to assign internal channels to mid/side pairs for encoding

EQ Plug-ins

window, including channel labels.

Enables displaying of all channel meters and statistics counters regardless of the currently selected channel group. When this option is deactivated, only meters belonging to the currently selected channel group are shown. Activating this option is useful when you are using dual-mono or mid-side processing. This option allows you to see channel meters for left and right, or mid and side channels together.

Allow you to route external plug-in inputs to internal plug-in channels and vice versa, and to route internal plug-in channels to external plug-in outputs. The plug-in has a pre-defined number of internal channels, but the number of input and output channels can vary depending on the host application’s track or bus on which the plug-in is inserted. Note that if the input routing selector is red, the selector refers to a non-existent input channel. You can correct this by selecting an existing channel. External side-chain inputs are denoted by parenthesized labels, for example, “(IN3)”, “(IN4)”.

and decoding. The mid/side encoding is a wide-spread technique that allows you to process the middle (center) and side (spatial) information in stereo signals independently of each other, thus offering a great deal of control over that signal’s stereophony. Mid/side encoding works with paired channels only and thus requires two channels to be assigned to the same mid/side pair. An input signal is mid/side encoded before it is processed by the plugin, and decoded afterwards before it is routed to an output of the plug-in.

The Included Effect Plug-ins

EQ Plug-ins

Parameter Description

Group Assignments The plug-in allows you to assign its internal audio channels to

logical channel groups. Each group is affected by its own set of parameter values (EQ shape, gain factor, overdrive setting, etc.). The current channel group is selected via the channel group selector. Individual audio channels can be assigned to different channel groups. For example, you can make separate EQ settings for channel channel In a surround setup you can assign left and right channels to group shapes to the groups. Each plug-in audio channel can be assigned to a single channel group only. Channel grouping also affects channel-linking in case of dynamics processing and other processes that estimate signal loudness envelope: channels assigned to the same group are linked during processing and signal loudness estimation.

IN Channel Labels Opens the label assignment window where you change the display

names for the input channels. You can also import channel labels from the host application by pressing the “Import labels from host” button. However, not all host applications provide distinctive input channel names.

Group Names Opens the group names where you can change the display names

for the groups.

1 and for channel 2 by assigning channel 1 to group 1 and 2 to group 2.

1 and surround channels to group 2, and apply different EQ

CurveEQ Settings

In the CurveEQ Settings window the following parameters are available:

Parameter Description

Color scheme The icons show possible color schemes. To change the color

UI scale Adjusts the size of the plug-in panel. Note that changing this setting

Show hints If activated, hint messages appear at the bottom of the plug-in

Min Infrastructure Activate this to hide part of the plug-in interface in favor of showing

scheme, click an icon.

requires a restart of the host application.

panel.

a larger EQ control surface.

The Included Effect Plug-ins

Parameter Description

Level meter settings mode

Level meter settings Integration time

Level meter settings Time

Level meter settings hold time

– Density

–

– Release

– Peak level

Activates the density metering mode. In this mode you can see levels at which a signal stays often. By examining the range of levels at which a signal stays, you can draw conclusions about the effective dynamic range of the material. Note that the signal level estimation is affected by the meter’s integration and release times. In this mode, the display of the signal level is also affected by the Peak Level hold time setting.

Affects the level integration time of all level meters. The value reflects the time it takes for a signal level to fall down by 20 raise up from one steady level to another steady level. Note that this setting does not affect the peak level on the level meters, but directly affects the visible difference between the peak and RMS levels when a musical signal is measured.

Changes the level meter’s release time. This is the time it takes for a signal to fall down by 20

Adjusts the time that a registered peak level with a width of 1 sample stays unchanged on the level meter.

dB.

EQ Plug-ins

dB, or

Global Plug-In Settings

The global plug-in settings can be accessed via the Settings window. The following parameters are available:

Parameter Description

Mouse Wheel Precision

SHIFT Key Precision Affects the precision when using the [Shift] key and dragging a

Drag Precision Affects how quickly knobs and readouts react to mouse

Affects the precision of the mouse wheel. The higher the precision, the finer the value changes using the mouse wheel.

control with the mouse.

movements.

The Included Effect Plug-ins

EQ Plug-ins

Parameter Description

Visual settings You can customize the look of the plug-in with the following

settings: Flat Panels – When enabled, all buttons and panels of the plug-in look flat, without a gradient fill. Spotlight – Enables a wide light area that looks like a spotlight. Textures – Adds texture to the plug-in panel. Shadows – Enables shadows on graphical elements. Flat Level Meters – Enables the flat, non-blocky look of the level meters.

Show Knob Labels Enables numeric labels that appear when you point the mouse at a

knob.

Tablet Mode When activated, you can control the plug-in with a pen tablet.

Show Virtual Keyboard

Radial Knob Mode When this is activated,

Control Surface Crosshair

Anti-Denormal Noise Enables insertion of anti-denormalization noise on the plug-in

Remember Window Positions

Show All Filter Shapes

Do Not Show Latency Changes

When this is activated, a virtual computer keyboard is shown when you enter values. The virtual computer keyboard is useful if the host application blocks certain keys from reaching the plug-in’s user interface.

you can click on the corona to set the

parameter value immediately.

Displays a crosshair cursor in the control surface area.

inputs. This noise has an RMS value of -220 audible dynamic range. If you are using the plug-in in a host application that applies such noise automatically, you can deactivate this option to save CPU power. Without antidenormalization noise the filters of the plug-in can overload the CPU when silence is processed.

When this is activated, the relative position of the plug-in windows is remembered after reopening the plug-in.

When this is activated, all active filters are shown together with the shape of the selected filter.

Disables the “Latency Changed” warning message completely.

dB – well below the

Standard Control Elements in Detail

Knob

Knobs can be controlled as follows:

- If “Radial Knob Mode” is activated, you can drag the corona of a knob to adjust the value of the corresponding parameter. During dragging, you can move the mouse pointer away from the knob to increase value adjustment precision.

- Drag the center of a knob to adjust the value of the parameter with up and down mouse movements, linearly. If you press the left and right mouse buttons together while dragging the center, you enter high-precision adjustment mode. You can also enter this mode by holding down [Shift] when dragging. The dragging precision can be adjusted in the global settings window, see

Settings” on page 57.

- Turn the mouse wheel to adjust the parameter.

- Double-click a knob to reset it to the default state.

The Included Effect Plug-ins

“Global Plug-In

EQ Plug-ins

When you point the mouse at a knob, an additional ring shows approximate parameter values at different knob positions. These values are also referred to as knob labels. Thousands are suffixed with an asterisk (2*). This ring can be disabled in the global settings window.

Keyboard value entry

Most readout values such as gain or frequency can be clicked to enter a new value.

Value list selector

This type of control allows you to choose a value or an option from the list. You can click the selector button to display the value list. You can also use the mouse’s forward and backward buttons or the mouse wheel to scroll through the values of a list without opening it.

To reset a value list to its default value, right-click the selector.

Slider

Sliders can be dragged with the left mouse button. If you press the left and right mouse buttons together while dragging the slider, you enter high-precision adjustment mode. You can also enter this mode by holding down [Shift] when dragging.

Location of CurveEQ Files

CurveEQ creates settings files, including presets. All CurveEQ settings and presets are available to the specific user of the computer only.

On Windows systems, the files reside in the following folder: “\Users\<user name>\ Application Data\Voxengo\Audio Plug-Ins\”.

On Mac OS X systems, the files reside in the following folder: “/Users/<user

You can safely remove, copy and replace these files, including the whole “Voxengo\Audio Plug-Ins\” subfolder.

name>/Library/Preferences/Voxengo/Audio Plug-Ins/”.

The Included Effect Plug-ins

Filter Plug-ins

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

DualFilter

Filter Plug-ins

Cubase LECubase AICubase

Elements

Included with

The DualFilter effect filters out certain frequencies while allowing others to pass through.

The following parameters are available:

Parameter Description

Position Sets the filter cutoff frequency. If you set this to a negative value,

Resonance Sets the sound characteristic of the filter. With higher values, a

X X X X X X –

DualFilter acts as a low-pass filter. Positive values cause DualFilter to act as a high-pass filter.

ringing sound is heard.

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The Included Effect Plug-ins

MorphFilter

Resonance Factor

Morph Factor

Frequency

Filter Plug-ins

Included with

Cubase LECubase AICubase

Elements

– – – X X X –

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MorphFilter lets you mix low-pass, high-pass, band-pass and band-reduction filter effects, allowing for creative morphings between two filters.

The following parameters are available:

Parameter Description

High Pass (6, 12, 18, 24

dB/per Decade)

Band Rejection (12, 24 Decade)

Level meter Shows the output level, giving you an indication of how the filtering

Resonance Factor Changes the resonance value of the filters.

Morph Factor Lets you mix the output between the two selected filters.

Frequency Adjusts the cutoff frequency of the filters.

x/y control Adjusts the Morph Factor and the Frequency parameters

dB/per

Eliminates low-frequency signal components. Several filter slopes are available.

Lets all frequencies pass, except those in the stop band. Several filter slopes are available.

affects the overall level of the edited event.

simultaneously.

The Included Effect Plug-ins

PostFilter

Parameter Description

Low Pass (6, 12, 18, 24

dB/per Decade)

Band Pass (12, 24 dB/per Decade)

Eliminates high-frequency signal components. Several filter slopes are available.

Allows signals falling within a certain frequency range to pass through. Several filter slopes are available.

Filter Plug-ins

Included with

Cubase LECubase AICubase

Elements

– – – – – X –

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Cubase Nuendo NEK

PostFilter is the filter plug-in to use if you are working on a post-production mix, but of course you can use it in music production, too, as an alternative to complex EQ configurations. It allows quick and easy filtering of unwanted frequencies, creating room for the important sounds in your mix.

The PostFilter plug-in combines a low-cut filter, a notch filter and a high-cut filter. You can make settings by dragging the curve points in the graphical display, or by adjusting one of the controls below the display section.

Use the Preview buttons to listen to the result of your filtering.

The following parameters are available:

Parameter Description

Level meter Shows the output level, giving you an indication of how the filtering

affects the overall level of the edited event.

Low Cut Freq (20 to 1 kHz, or Off)

Low Cut Slope pop-up menu

Use this low-cut filter to eliminate low-frequency noise. The filter is off when the curve point is moved all the way to the left.

Allows you to choose a slope value for the low-cut filter.

The Included Effect Plug-ins

Filter Plug-ins

Parameter Description

Low Cut Preview button

Spectrum Shows the spectrum before and after filtering.

Notch Freq Sets the frequency of the notch filter.

Notch Gain Adjusts the gain of the selected frequency. Use positive values to

Notch Gain Invert button

Notch Q-Factor Sets the width of the notch filter.

Notch Preview button This button is located between the notch filter buttons and the

Notches buttons (1, 2, 4, 8)

High Cut Freq (3 to 20 kHz, or Off)

High Cut Slope pop-up menu

High Cut Preview button

This button is located between the “Low Cut Freq” button and the graphical display. Use it to switch the filter to a complementary high-cut filter. This deactivates any other filters, allowing you to listen only to the frequencies you want to filter out.

identify the frequencies that you want to filter out.

Inverts the gain value of the notch filter. Use this button to filter out unwanted noise. When looking for the frequency to omit, it sometimes helps to boost it first (set the notch filter to positive gain). After you have found it, you can use the Invert button to cancel it out.

graphical display. Use it to create a band-pass filter with the peak filter’s frequency and Q. This deactivates any other filters, allowing you to listen only to the frequencies you want to filter out.

These buttons add additional notch filters to filter out harmonics.

Use this high-cut filter to eliminate high-frequency noise. The filter is off when the curve point is moved all the way to the right.

Allows you to choose a slope value for the high-cut filter.

This button is located between the High Cut Freq button and the graphical display. Use it to switch the filter to a complementary low-cut filter. This deactivates any other filters, allowing you to listen only to the frequencies you want to filter out.

StepFilter

Cubase LECubase AICubase

Elements

Included with

StepFilter is a pattern-controlled multimode filter that can create rhythmic, pulsating filter effects.

– – X X X X –

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The Included Effect Plug-ins

Filter Plug-ins

General Operation

StepFilter can produce two simultaneous 16-step patterns for the filter cutoff and resonance parameters, synchronized to the sequencer tempo.

Setting Step Values

• Setting step values is done by clicking in the pattern grid windows.

• Individual step entries can be freely dragged up or down the vertical axis, or

directly set by clicking in an empty grid box. By click-dragging left or right, consecutive step entries are set at the pointer position.

• The horizontal axis shows the pattern steps 1 to 16 from left to right, and the vertical axis determines the (relative) filter cutoff frequency and resonance settings.

The higher up on the vertical axis a step value is entered, the higher the relative filter cutoff frequency or filter resonance setting.

• By starting playback and editing the patterns for the cutoff and resonance parameters, you can hear how your filter patterns affect the sound source connected to StepFilter.

Selecting New Patterns

• Created patterns are saved with the project, and up to 8 different cutoff and

resonance patterns can be saved internally. Both the cutoff and resonance settings are saved together in the 8 pattern slots.

• Use the Pattern Selector below the Resonance grid to select a new pattern. New patterns are all set to the same step value by default.

Using Pattern Copy and Paste to Create Variations

You can use the Copy and Paste buttons below the Pattern Selector to copy a pattern to another pattern slot, which is useful for creating variations on a pattern.

• Select the pattern you wish to copy, click the Copy button, select another pattern slot, and click Paste.

The pattern is copied to the new slot, and can now be edited to create variations using the original pattern as a starting point.

StepFilter Parameters

The following parameters are available:

Parameter Description

Base Cutoff Sets the base filter cutoff frequency. Values set in the Cutoff grid

are relative to the Base Cutoff value.

Base Resonance Sets the base filter resonance. Values set in the Resonance grid

are relative to the Base Resonance value. Note that very high Base Resonance settings can produce loud ringing effects at certain frequencies.

Glide Applies glide between the pattern step values, causing values to

change more smoothly.

Filter mode Use this slider to select a filter mode: low-pass (LP), band-pass

(BP), or high-pass (HP) (from left to right).

Sync button When the Sync button to the right of the Sync pop-up menu is

activated (yellow), the pattern playback is synchronized with the project tempo.

Sync pop-up menu (1/1 to 1/32, straight, triplet, or dotted)

Use this pop-up menu to set the pattern beat resolution, that is, the note values the pattern plays in relation to the tempo.

The Included Effect Plug-ins

Parameter Description

Output slider Sets the overall volume.

Mix slider Adjusts the mix between dry and processed signal.

ToneBooster

Filter Plug-ins

Cubase LECubase AICubase

Elements

Included with

ToneBooster is a filter that allows you to raise the gain in a selected frequency range. It is particularly useful when inserted before AmpSimulator in the plug-in chain (see

“AmpSimulator” on page 10), greatly enhancing the tonal varieties available.

The following parameters are available:

Parameter Description

Tone Sets the center filter frequency.

Gain Adjusts the gain of the selected frequency range by up to 24 dB.

Width Sets the resonance of the filter.

Mode selector Sets the basic operational mode of the filter; Peak or Band Mode.

– X X X X X –

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WahWah

Cubase LECubase AICubase

Elements

Included with

Side-chain support

WahWah is a variable slope band-pass filter that can be auto-controlled by a sidechain signal (if supported, see table above) or via MIDI modeling the well-known analog pedal effect. You can independently specify the frequency, width and the gain for the Lo and Hi Pedal positions. The crossover point between the Lo and Hi Pedal positions lies at 50.

– X X X X X –

– – – X X X –

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The Included Effect Plug-ins

Mastering Plug-ins

The following parameters are available:

Parameter Description

Pedal Controls the filter frequency sweep.

Pedal Control (MIDI) pop-up menu

Freq Lo/Hi Set the frequency of the filter for the Lo and Hi Pedal positions.

Width Lo/Hi Set the width (resonance) of the filter for the Lo and Hi Pedal

Gain Lo/Hi Set the gain of the filter for the Lo and Hi Pedal positions.

Filter Slope selector

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

signal source via the side-chain input. The louder the signal, the more the filter frequency (Pedal) is raised so that the plug-in acts as an auto-wha effect. For a description of how to set up side-chain routing, see the Operation Manual.

Allows you to choose the MIDI controller that controls the plug-in. Set this to “Automation” if you do not want to use MIDI realtime control.

positions.

Allows you to choose between two filter slope values: 6 dB or 12 dB.

MIDI Control

For realtime MIDI control of the Pedal parameter, MIDI must be directed to the WahWah plug-in.

• Whenever WahWah has been added as an insert effect (for an audio track or an FX channel), it is available on the Output Routing pop-up menu for MIDI tracks.

If WahWah is selected on the Output Routing menu, MIDI data is directed to the plug-in from the selected track.

Mastering Plug-ins

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

UV22HR

Included with

Cubase LECubase AICubase

Elements

– – X X X X –

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The UV22HR is a dithering plug-in, based on an advanced algorithm developed by Apogee. For an introduction to the concept of dithering, see the Operation Manual.

The following parameters are available:

Option Description

Bit Resolution The UV22HR supports dithering to multiple resolutions: 8, 16, 20 or

24 bits. Select the resolution by clicking the corresponding button.

Hi Try this first, it is the most all-round setting.

The Included Effect Plug-ins

Option Description

Lo Applies a lower level of dither noise.

Auto black When this is activated, the dither noise is gated (muted) during silent

Dithering should always be applied post-fader on an output bus.

Modulation Plug-ins

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

AutoPan

Modulation Plug-ins

passages in the material.

Cubase LECubase AICubase

Elements

Included with

Side-chain support

This is a simple auto-pan effect. It can use different waveforms to modulate the leftright stereo position (pan), either using tempo sync or manual modulation speed settings.

The following parameters are available:

Parameter Description

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

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

Width Sets the depth of the auto-pan effect.

Waveform Shape selector

X X X X X X –

– – – X X X –

tempo-syncing the effect (1/1 to 1/32, straight, triplet, or dotted). If tempo sync is off, the auto-pan speed can be set freely with the Rate knob.

Allows you to select the modulation waveform. A sine and a triangle waveform are available.

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Ö If side-chaining is supported, the Width parameter can also be controlled from

another signal source via the side-chain input. For a description of how to set up sidechain routing, see the Operation Manual.

The Included Effect Plug-ins

Chopper

Modulation Plug-ins

Cubase LECubase AICubase

Elements

Included with

Chopper is a combined tremolo and autopan effect. It can use different waveforms to modulate the level (tremolo) or left-right stereo position (pan), either using tempo sync or manual modulation speed settings.

The following parameters are available:

Parameter Description

Waveform buttons Set the modulation waveform.

Depth Sets the depth of the Chopper effect. This can also be set by clicking

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

Sync button The button above the Speed knob switches tempo sync on (button

Stereo/Mono button

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

X X X X X X –

in the graphical display.

tempo-syncing the effect (1/1 to 1/32, straight, triplet, or dotted). Note that there is no note value modifier for this effect. If tempo sync is off, the tremolo/auto-pan speed can be set freely with the Speed knob.

lights up) or off.

Determines whether the Chopper works as an auto-panner (button set to “Stereo”) or a tremolo effect (button set to “Mono”).

is used as a send effect, this should be set to the maximum value.

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The Included Effect Plug-ins

Chorus

Modulation Plug-ins

Cubase LECubase AICubase

Elements

Included with

Side-chain support

This is a single-stage chorus effect. It works by doubling whatever is sent into it with a slightly detuned version (see also

The following parameters are available:

Parameter Description

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

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

Width Determines the depth of the chorus effect. Higher settings produce a

Waveform Shape selector

Spatial Sets the stereo width of the effect. Turn clockwise for a wider stereo

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

Delay Affects the frequency range of the modulation sweep by adjusting the

Filter Lo/Hi Allow you to roll off low and high frequencies of the effect signal.

X X X X X X –

– – – X X X –

“StudioChorus” on page 77).

tempo-syncing the chorus sweep (1/1 to 1/32, straight, triplet, or dotted). If tempo sync is off, the sweep rate can be set freely with the Rate knob.

more pronounced effect.

Allows you to select the modulation waveform, altering the character of the chorus sweep. A sine and a triangle waveform are available.

effect.

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

initial delay time.

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

signal source via the side-chain input. When the side-chain signal exceeds the threshold, the modulation is controlled by the side-chain signal’s envelope. For a description of how to set up side-chain routing, see the Operation Manual.

The Included Effect Plug-ins

Cloner

Modulation Plug-ins

Cubase LECubase AICubase

Elements

Included with

The Cloner plug-in adds up to four detuned and delayed voices to the signal, for rich modulation and chorus effects.

The following parameters are available:

Parameter Description

Voices Allows you to select the number of voices (up to four). For each

Spatial Spreads the added voices across the stereo spectrum. Turn

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

Output Allows you to reduce or increase the output gain by up to 12 dB.

Detune slider 1 to 4

Delay slider 1 to 4

Detune Governs the overall depth of the detuning for all voices. If this is set to

Natural button By clicking the Natural button below the Detune knob, you can

Detune – Humanize

Static Detune button

Delay Governs the overall depth of the delay for all voices. If set to zero, no

– – – – X X –

added voice, a Detune and a Delay slider are added in the right half of the panel.

clockwise for a deeper stereo effect.

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

Controls the relative detune amount for each voice. Positive and negative values can be set, from -100 to 100. A value of zero means no detune for that voice.

Controls the relative delay amount for each voice. A value of zero means no delay for that voice.

zero, no detuning takes place, regardless of the Detune slider settings.

change the pitch algorithm.

Controls the amount of detune variation when Static Detune is deactivated. With Humanize, the detune is constantly modulated for a more natural effect. The value range is from 0 to 100 (strongest detune variation).

Use this button to activate/deactivate the Static Detune function. If activated, the set detune amount is static, and the Humanize knob is grayed out.

delay takes place regardless of the Delay slider settings.

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The Included Effect Plug-ins

Flanger

Modulation Plug-ins

Parameter Description

Delay – Humanize Controls the amount of delay variation when Static Delay is

deactivated. With Humanize, the delay is constantly modulated for a more natural effect. The value range is from 0 to 100 (strongest delay variation).

Static Delay button Use this button to activate/deactivate the Static Delay function. If

activated, the set delay amount is static, and the Humanize knob is grayed out.

Cubase LECubase AICubase

Elements

Included with

Side-chain support

Flanger is a classic flanger effect with added stereo enhancement.

The following parameters are available:

Parameter Description

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

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

Range Lo/Hi Set the frequency boundaries for the flanger sweep.

Feedback Determines the character of the flanger effect. Higher settings

Spatial Sets the stereo width of the effect. Turn clockwise for a wider stereo

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

Waveform Shape selector

Delay Affects the frequency range of the modulation sweep by adjusting the

X X X X X X –

– – – X X X –

tempo-syncing the flanger sweep (1/1 to 1/32, straight, triplet, or dotted). If tempo sync is off, the sweep rate can be set freely with the Rate knob.

produce a more metallic sounding sweep.

effect.

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

Allows you to select the modulation waveform, altering the character of the flanger sweep. A sine and a triangle waveform are available.

initial delay time.

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The Included Effect Plug-ins

Metalizer

Modulation Plug-ins

Parameter Description

Manual knob Allows you to change the sweep position manually when the Manual

button is deactivated. The value range is from 0 to 100.

Manual button Use this button to activate/deactivate the Manual function. If

activated, the flanger sweep is static, that is, no modulation takes place.

Filter Lo/Hi Allow you to roll off low and high frequencies of the effect signal.

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

Cubase LECubase AICubase

Elements

Included with

Metalizer feeds the audio signal through a variable frequency filter, with tempo sync or time modulation and feedback control.

The following parameters are available:

Parameter Description

Feedback The higher the value, the more metallic the sound.

Sharpness Governs the character of the filter effect. The higher the value, the

Tone Governs the feedback frequency. The effect of this is more noticeable

On button Turns filter modulation on and off. When turned off, Metalizer works

Mono button When this is activated, the output of Metalizer is mono.

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

Sync button The button above the Speed knob switches tempo sync on (button

– X X X X X –

narrower the affected frequency area, producing a sharper sound and a more pronounced effect.

with high Feedback settings.

as a static filter.

tempo-syncing the effect (1/1 to 1/32, straight, triplet, or dotted). Note that there is no note value modifier for this effect. If tempo sync is off, the modulation speed can be set freely with the Speed knob.

lights up) or off.

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The Included Effect Plug-ins

Phaser

Modulation Plug-ins

Parameter Description

Output slider Sets the overall volume.

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

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

Phaser produces the well-known swooshing phasing effect with additional stereo enhancement.

The following parameters are available:

Parameter Description

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

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

Width Determines the width of the modulation effect between higher and

Feedback Determines the character of the phaser effect. Higher settings

Spatial When using multi-channel audio, the Spatial parameter creates a 3-

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

Manual knob Allows you to change the sweep position manually when the Manual

X X X X X X –

– – – X X X –

tempo-syncing the phaser sweep (1/1 to 1/32, straight, triplet, or dotted). If tempo sync is off, the sweep rate can be set freely with the Rate knob.

lower frequencies.

produce a more pronounced effect.

dimensional impression by delaying modulation in each channel.

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

button is deactivated. The value range is from 0 to 100.

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The Included Effect Plug-ins

Parameter Description

Manual button Use this button to activate/deactivate the Manual function. If

Filter Lo/Hi Allow you to roll off low and high frequencies of the effect signal.

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

RingModulator

Modulation Plug-ins

activated, the flanger sweep is static, that is, no modulation takes place.

Cubase LECubase AICubase

Elements

Included with

RingModulator can produce complex, bell-like enharmonic sounds. Ring modulators work by multiplying two audio signals. The ring modulated output contains added frequencies generated by the sum of, and the difference between, the frequencies of the two signals.

RingModulator has a built-in oscillator that is multiplied with the input signal to produce the effect.

The following parameters are available:

– X X X X X –

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Parameter Description

Oscillator – LFO

Amount

Oscillator – Env.

Amount

Oscillator – Waveform buttons

Oscillator – Range

slider

Controls how much the oscillator frequency is affected by the LFO.

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. Left of center, a loud input signal decreases the oscillator pitch, whereas right of center the oscillator pitch increases when fed a loud input.

Allows you to select the oscillator waveform; square, sine, saw, or triangle.

Determines the frequency range of the oscillator in Hz.

The Included Effect Plug-ins

Modulation Plug-ins

Parameter Description

Oscillator – Frequency

Oscillator – Roll-Off Attenuates high frequencies in the oscillator waveform, to soften

LFO – Speed Sets the LFO speed.

LFO – Env. Amount Controls how much the input signal level – via the envelope

LFO – Waveform Allows you to select the LFO waveform; square, sine, saw, or

LFO – Invert Stereo Inverts the LFO waveform for the right channel of the oscillator,

Envelope Generator section – Attack and Decay

Lock L<R button When this button is enabled, the L and R input signals are merged,

Output slider Sets the overall volume.

Mix slider Adjusts the mix between dry and processed signal.

Sets the oscillator frequency ±2 octaves within the selected range.

the overall sound. This is best used when harmonically rich waveforms are selected (square or saw, for example).

generator – affects the LFO speed. Positive and negative values can be set, at 0 loud input signal slows down the LFO, whereas positive values speed it up at loud input signals.

triangle.

which produces a wider stereo perspective for the modulation.

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 controls how fast the envelope output level rises in response to a rising input signal. Decay controls how fast the envelope output level falls in response to a falling input signal.

and produce the same envelope output level for both oscillator channels. When disabled, each channel has its own envelope, which affects the two channels of the oscillator independently.

% no modulation is applied. With negative values, a

Rotary

Cubase LECubase AICubase

Elements

Included with

The Rotary plug-in simulates the classic effect of a rotating speaker. A rotary speaker cabinet features speakers rotating at variable speeds to produce a swirling chorus effect, commonly used with organs. Rotary features all the parameters associated with the real thing.

– – X X X X –

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The Included Effect Plug-ins

Modulation Plug-ins

The following parameters are available:

Parameter Description

Speed selector (Stop/Slow/Fast)

Speed Change Mode

Speed Mod When the Slow/Fast setting is set to variable control, this allows you

MIDI controller pop-up menu

Overdrive Applies a soft overdrive or distortion.

CrossOver Sets the crossover frequency (200 to 3000 Hz) between the low and

Horn – Slow Allows for a fine adjustment of the high rotor Slow speed.

Horn – Fast Allows for a fine adjustment of the high rotor Fast speed.

Horn – Accel. Allows for a fine adjustment of the high rotor acceleration time.

Horn – Amp Mod Controls the high rotor amplitude modulation.

Horn – Freq Mod Controls the high rotor frequency modulation.

Bass – Slow Allows for a fine adjustment of the low rotor Slow speed.

Bass – Fast Allows for a fine adjustment of the low rotor Fast speed.

Bass – Accel. Allows for a fine adjustment of the low rotor acceleration time.

Bass – Amp Mod Adjusts the modulation depth of the amplitude.

Bass – Level Adjusts the overall bass level.

Microphones – Phase

Microphones – Angle

Microphones – Distance

Output Adjusts the overall output level.

Mix Adjusts the mix between dry and processed signal.

Allows you to control the speed of the Rotary in three steps.

Allows you to select whether the Slow/Fast setting is a switch (left) or a variable control (right). When switch mode is selected and Pitchbend is the controller, the speed switches with an up or down flick of the bender. Other controllers switch at MIDI value 64.

to select the rotary speed, from 0 (Stop) to 100 (Fast).

Allows you to choose the MIDI controller that controls the plug-in. Set this to “Automation” if you do not want to use MIDI realtime control.

high frequency loudspeakers.

Adjusts the phasing amount in the sound of the high rotor.

Sets the simulated microphone angle. 0 = mono, 180 = a mic on each side.

Sets the simulated microphone distance from the speaker in inches.

Directing MIDI to the Rotary

For realtime MIDI control of the Speed parameter, MIDI must be directed to the Rotary.

• Whenever Rotary has been added as an insert effect (for an audio track or an FX

channel), it is available on the Output Routing pop-up menu for MIDI tracks.

If Rotary is selected on the Output Routing menu, MIDI is directed to the plug-in from the selected track.

The Included Effect Plug-ins

StudioChorus

Modulation Plug-ins

Cubase LECubase AICubase

Elements

Included with

Side-chain support

The StudioChorus plug-in is a two stage chorus effect which adds short delays to the signal and pitch modulates the delayed signals to produce a doubling effect. The two separate stages of chorus modulation are completely independent and are processed serially (cascaded).

For each stage the following parameters are available:

– – – – X X –

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Parameter Description

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

tempo-syncing the chorus sweep (1/1 to 1/32, straight, triplet, or dotted). If tempo sync is off, the sweep rate can be set freely with the Rate knob.

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

Width Determines the depth of the chorus effect. Higher settings produce

a more pronounced effect.

Waveform Shape selector

Spatial Sets the stereo width of the effect. Turn clockwise for a wider

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

Delay Affects the frequency range of the modulation sweep by adjusting

Filter Lo/Hi Allow you to roll off low and high frequencies of the effect signal.

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

Allows you to select the modulation waveform, altering the character of the chorus sweep. A sine and a triangle waveform are available.

stereo effect.

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

the initial delay time.

The Included Effect Plug-ins

Tranceformer

Modulation Plug-ins

Cubase LECubase AICubase

Elements

Included with

Tranceformer is a ring modulator effect, in which the incoming audio is ring modulated by an internal, variable frequency oscillator, producing new harmonics. A second oscillator can be used to modulate the frequency of the first oscillator, in sync with the Song tempo if needed.

The following parameters are available:

Parameter Description

Waveform buttons Allow you to select a pitch modulation waveform.

Tone Sets the frequency (pitch) of the modulating oscillator (1 to 5000 Hz).

Depth Governs the depth of the pitch modulation.

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

Sync button The button above the Speed knob switches tempo sync on (button

On button Turns modulation of the pitch parameter on or off.

Mono button Governs whether the output is stereo or mono.

Output slider Adjusts the output level of the effect.

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

– X X X X X –

lights up) or off.

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Cubase Nuendo NEK

Ö Note that clicking and dragging in the display allows you to adjust the Tone and Depth

parameters at the same time!

The Included Effect Plug-ins

Tremolo

Modulation Plug-ins

Cubase LECubase AICubase

Elements

Included with

Side-chain support

Tremolo produces amplitude (volume) modulation. The following parameters are available:

Parameter Description

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

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

Depth Governs the depth of the amplitude modulation.

Spatial Adds a stereo effect to the modulation.

Output Adjusts the output volume.

X X X X X X –

– – – X X X –

tempo-syncing the effect (1/1 to 1/32, straight, triplet, or dotted). If tempo sync is off, the modulation speed can be set freely with the Rate knob.

Cubase

Artist

Cubase Nuendo NEK

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

The Included Effect Plug-ins

Vibrato

Modulation Plug-ins

Cubase LECubase AICubase

Elements

Included with

Side-chain support

The Vibrato plug-in produces pitch modulation. The following parameters are available:

Parameter Description

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

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

Depth Governs the depth of the pitch modulation.

Spatial Adds a stereo effect to the modulation.

X X X X X X –

– – – X X X –

tempo-syncing the effect (1/1 to 1/32, straight, triplet, or dotted). If tempo sync is off, the modulation speed can be set freely with the Rate knob.

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Artist

Cubase Nuendo NEK

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

The Included Effect Plug-ins

Pitch Shift Plug-ins

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

Octaver

Pitch Shift Plug-ins

Cubase LECubase AICubase

Elements

Included with

This plug-in can generate two additional voices that track the pitch of the input signal one octave and two octaves below the original pitch, respectively. Octaver is best used with monophonic signals.

The following parameters are available:

Parameter Description

Direct Adjusts the mix of the original signal and the generated voices. A

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

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

– X X X X X –

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

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

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

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Cubase Nuendo NEK

The Included Effect Plug-ins

Pitch Correct

Pitch Shift Plug-ins

Cubase LECubase AICubase

Elements

Included with

Pitch Correct automatically detects, adjusts and fixes slight pitch and intonation inconsistencies in monophonic vocal and instrumental performances in realtime. The advanced algorithms of this plug-in preserve the formants of the original sound thus allowing for natural sounding pitch correction without the typical Mickey Mouse effect.

– – X X X X –

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Artist

Cubase Nuendo NEK

Furthermore, you can use Pitch Correct creatively. You can create backing vocals, for example, by modifying the lead vocals or vocoder sounds by using extreme values. You can use an external MIDI controller, a MIDI track or the virtual keyboard to play a note or a scale of target pitches that determine the current scale notes to which the audio is shifted. This allows you to change your audio in a very quick and easy way, which is extremely useful for live performances. In the keyboard display, the original audio is displayed in blue while the changes are displayed in orange.

The following parameters are available:

Parameter Description

Correction – Speed Determines the smoothness of the pitch change. Higher values

cause the pitch shift to occur immediately. 100 is a very drastic setting that is designed mainly for special effects (for example, the famous Cher effect).

Correction – Tolerance

Correction – Transpose (-12 to 12)

Determines the sensitivity of analysis. A low Tolerance value lets Pitch Correct find pitch changes quickly. When the Tolerance value is high, pitch variations in the audio (for example, vibrato) are not immediately interpreted as note changes.

With this parameter you can adjust (or retune) the pitch of the incoming audio in semitone steps. You can set positive and negative values from -12 to 12. A value of zero means that the signal is not transposed.

The Included Effect Plug-ins

Pitch Shift Plug-ins

Parameter Description

Scale Source – Internal

Scale Source – External MIDI Scale

Scale Source – External MIDI Note

Formant – Shift (-60 to 60)

Formant – Optimize (General, Male, Female)

Formant – Preservation (On/Off)

Master Tuning Detunes the output signal. The default setting is 440 Hz.

If you choose the Internal option from the Scale Source pop-up menu, you can use the pop-up menu next to it to decide to which scale the source audio is adapted. The following options are available: Chromatic: The audio is pitched to the closest semitone. Major/Minor: The audio is pitched to the major/minor scale specified in the pop-up menu to the right. This is reflected on the keyboard display. Custom: The audio is pitched to the notes that you specify by clicking keys on the keyboard display. To reset the keyboard, click the orange line below the display.

Select this option if you want the audio to be shifted to a scale of target pitches, using an external MIDI controller, the Virtual Keyboard or a MIDI track. Note that you have to assign the audio track as the output of your MIDI track and that the Speed parameter has to be set to a value other than Off.

Select this option if you want the audio to be shifted to a target note, using an external MIDI controller, the Virtual Keyboard or a MIDI track. Note that you have to assign the audio track as the output of your MIDI track and that the Speed parameter has to be set to a value other than Off.

Changes the natural timbre, that is, the characteristic frequency components of the source audio.

Allows you to specify the sound characteristics of the sound sources. While General is the default setting, Male is designed for low pitches and Female for high pitches.

When this parameter is set to Off, formants are raised and lowered with the pitch, provoking strange vocal effects. Higher pitch correction values result in Mickey Mouse effects, lower pitch correction values in Monster sounds. When this parameter is set to On, the formants are kept, maintaining the character of the audio.

The Included Effect Plug-ins

PitchDriver

Pitch Shift Plug-ins

Cubase LECubase AICubase

Elements

Included with

PitchDriver was created for sound design purposes in postproduction. This plug-in can be used for extreme up or down pitching of voices or effect samples (for example, to create eerie monster sounds). Shifting the pitch with this plug-in does not keep the formants.

The following parameters are available:

Parameter Description

Detune Lets you detune the pitch of the incoming audio. Positive and

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

Spatial Creates an ambience effect. It introduces a light pitch offset to the

Output Adjusts the output volume.

– – – – – X –

negative values can be set.

incoming signal. Different offset values are used for the individual input channels in order to create a panorama effect. Note that the created panorama effect can be unstable. For a stable panorama, turn off the Spatial parameter. In that case the incoming signals are summed up to a mono signal.

Cubase

Artist

Cubase Nuendo NEK

Ö To avoid hearing artifacts, it is recommended to set the ASIO buffer for your audio

card to at least 128 samples. The buffer size can be set on the card driver’s control panel (opened via the Device Setup dialog).

The Included Effect Plug-ins

Reverb Plug-ins

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

REVerence

Reverb Plug-ins

Cubase LECubase AICubase

Elements

Included with

REVerence is a convolution tool that allows you to apply room characteristics (reverb) to the audio. This is done by processing the audio signal according to an impulse response – a recording of an impulse in a room or another location that recreates the characteristics of the room. As a result, the processed audio sounds as if it were played in the same location. Included with the plug-in are top quality samples of real spaces to create reverberation.

Ö REVerence can be very demanding in terms of RAM. This is because the impulse

responses that you load into the program slots are preloaded into RAM to guarantee artifact-free switching between programs. Therefore, you should always load only those programs that you need for a given task.

– – – – X X –

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Artist

Cubase Nuendo NEK

Using the Program Matrix

A program is the combination of an impulse response and its settings. These include reverb settings (see

“Making EQ Settings” on page 89), pictures (see “Loading Pictures” on page 90),

and output settings (see “Making Output Settings” on page 90). The program matrix allows you to load programs and to view the name of the current program, that is, the impulse response (see

“Changing the Reverb Settings” on page 87), EQ settings (see

“Working with Custom Impulse Responses” on page 91).

The Included Effect Plug-ins

Reverb Plug-ins

The following parameters are available:

Parameter Description

Program name In the upper left corner of the plug-in panel, either the name of the

loaded impulse response file or the name of the program is shown. After loading an impulse response, its number of channels and the length in seconds are displayed for a few seconds.

Browse button This button opens a browser window showing the available

programs. When you select a program in the browser, it is loaded into the active program slot. To be able to filter the list of impulse responses in the browser window, for example, by room type or the number of channels, you can activate the Filters section (by clicking the “Set Up Window Layout” button at the bottom left of the window).

Import button Click this button to load your own impulse response files from disk. The

files should have a maximum length of 10 seconds. Longer files are automatically cut. For more information, see

Impulse Responses” on page 91.

Program slots (1 to 36)

Smooth Parameter Changes button

Store button Stores the active impulse response and its settings as a program.

Erase button Removes the selected program from the matrix.

Use these slots to load all the impulse responses (programs) that you want to work with in a session. The selected program slot is indicated by a white frame. Used slots are shown in a different color. Doubleclicking an empty program slot opens a browser window, showing the available programs. Clicking a used program slot recalls the corresponding program and loads it into REVerence. When you move the mouse over a used slot, the corresponding program name is displayed below the active program name.

The “Smooth Parameter Changes” button is located between the program slots and the Store/Erase buttons. If it is activated, a crossfade is performed when switching programs. Leave this button deactivated while looking for a suitable program or an appropriate setting for an impulse response. Once you have set up the program matrix to your liking, activate the button to avoid hearing artifacts when switching between programs.

“Working with Custom

Programs vs. Presets

You can save your REVerence settings as VST plug-in presets or programs.

Both presets and programs use the file extension .vstpreset and appear in the same category in the MediaBay (Plug-In Presets), but they are represented by different icons:

Icon Description

A REVerence preset contains all settings and parameters for the plug-in, that is, all the loaded impulse responses along with their parameter settings and positions in the program matrix. Presets are loaded via the Presets pop-up menu at the top of the plug-in panel.

A REVerence program only contains the settings related to a single impulse response. Programs are loaded and managed via the program matrix.

The Included Effect Plug-ins

Reverb Plug-ins

Presets

Presets are useful in the following situations:

• When you want to save a complete setup with different impulse responses for later use (for example, different setups for explosion sounds that can be reused for other scenes or movies).

• When you want to save different parameter sets for the same impulse response so that you can later choose the set that best suits your needs.

Programs

Programs offer the following advantages:

• Up to 36 programs can be loaded into the program matrix for instant recall.

• A program provides a quick and easy way to save and recall a subset of the plug-

in parameters (that is, the settings for a single impulse response), allowing for short loading times.

• When automating a project and loading a REVerence program, only one automation event is written.

If you load a plug-in preset instead (which contains a lot more settings than a program), a lot of unnecessary automation data (for the settings that you did not use) is written.

Setting up Programs

Proceed as follows:

1. In the program matrix, click on a program slot to select it. A blinking white frame indicates that this program slot is selected.

2. Click the Browse button or click the empty slot again to load one of the included programs.

You can also import a new impulse response file, see “Importing Impulse

Responses” on page 91.

3. In the browser that appears, select the program containing the impulse response that you want to use and click OK.

The name of the loaded impulse response is shown in the upper left corner of the REVerence panel.

4. Set up the REVerence parameters as needed and click the Store button to save the impulse response with the current settings as a new program.

5. Set up as many programs as you need (up to 36) by following the steps above.

Ö If you want to use your set of programs in other projects, save your settings as a plug-

in preset using the Presets pop-up menu at the top of the plug-in panel.

Changing the Reverb Settings

The reverb settings allow you to change the characteristics of the room.

The following parameters are available:

Parameter Description

Main All values shown in the top row are for all speakers except the LFE.

Rear

If you are working with surround tracks up to 5.1, you can use this row to set up an offset for the rear channels.

The Included Effect Plug-ins

Reverb Plug-ins

Parameter Description

Auto Gain button When this button is activated, the impulse response is automatically

normalized.

Reverse button Reverses the impulse response.

Pre-Delay Controls the amount of time between the dry signal and the onset of

the reverb. With higher pre-delay values you can simulate larger rooms.

Time Scaling Controls the reverb time.

Size Determines the size of the simulated room.

Level A level control for the impulse response. This governs the volume of

the reverb.

ER Tail Split Sets a split point between the early reflections and the tail, allowing

you to determine where the reverb tail begins. A value of 60 means that the early reflections are heard for 60

ER Tail Mix Allows you to set up the relation of early reflections and tail. Values

above 50 attenuate the early reflections and values below 50 attenuate the tail.

ms.

The Impulse Response Display

The Display section allows you to view the impulse response details and to change the length of the response (trimming).

The following parameters are available:

Parameter Description

Play button/ Time Scaling wheel

Time Domain display

Spectrogram display

Information display Shows additional information, for example, the name of the program

When clicking the play button to apply the loaded impulse response, a short click is played. This provides a neutral test sound that makes it easier for you to know how different settings influence the reverb characteristics. The Time Scaling wheel lets you adjust the reverb time.

Shows the waveform of the impulse response.

Shows the analyzed spectrum of the impulse response. Time is displayed along the horizontal axis, frequency along the vertical axis, and volume is represented by the color.

and the loaded impulse response, the number of channels, the length, and Broadcast Wave File information.

The Included Effect Plug-ins

Parameter Description

Activate Impulse Trimming button

Trim slider Allows you to trim the start and end of the impulse response. Drag

Making EQ Settings

In the Equalizer section you can tune the sound of the reverb.

Reverb Plug-ins

Use this button at the bottom right of the Impulse display section to activate impulse trimming. The Trim slider is shown below the Impulse display.

the front handle to trim the start of the impulse response, or the end handle to trim the reverb tail. You can also use the mouse wheel for trimming. Note that the impulse response is cut without any fading.

The following parameters are available:

Parameter Description

EQ curve display Shows the EQ curve. You can use the EQ parameters below the

display to change the EQ curve, or modify the curve manually by dragging the curve points.

Activate EQ button This button to the right of the EQ parameters activates the EQ for

the effect plug-in.

Low Shelf On button Activates the low shelf filter that boosts or attenuates frequencies

below the cutoff frequency by the specified amount.

Low Freq (20 to 500)

Low Gain (-24 to +24)

Mid Peak On button Activates the mid peak filter that creates a peak or notch in the

Mid Freq (100 to 10000)

Mid Gain (-12 to +12)

Hi Shelf On button Activates the high shelf filter that boosts or attenuates frequencies

Hi Freq (5000 to 20000)

Hi Gain (-24 to +24)

Sets the frequency of the low band.

Sets the amount of attenuation/boost for the low band.

frequency response.

Sets the center frequency of the mid band.

Sets the amount of attenuation/boost for the mid band.

above the cutoff frequency by the specified amount.

Sets the frequency of the high band.

Sets the amount of attenuation/boost for the high band.

The Included Effect Plug-ins

Loading Pictures

In the Pictures section you can load graphics files to illustrate the setting, for example, the recording location or microphone arrangement of the loaded impulse response. Up to five pictures can be loaded.

The following parameters are available:

Parameter Description

Add button Opens a file dialog where you can navigate to the graphics file that

Next button If several pictures are loaded, you can click this button to display the

Remove button Deletes the active picture. Note that this does not remove the

Reverb Plug-ins

you want to import. JPG, GIF, and PNG file formats are supported.

next image.

graphics file from your hard disk.

Ö Pictures are only referenced by the plug-in and are not copied to the project folder.

Making Output Settings

In the Output section you can control the overall level and determine the dry/wet mix.

The following parameters are available:

Parameter Description

Output activity meter

Output slider Adjusts the overall output level.

Out (-24 to +12)

Mix (0 to 100)

Indicates the overall level of the impulse response and its settings.

Raises or lowers the signal output of the plug-in.

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

• To lock the dry/wet balance while browsing through the available presets and programs, activate the Lock button (padlock symbol) next to the Mix parameter.

The Included Effect Plug-ins

Working with Custom Impulse Responses

In addition to working with the impulse responses included with REVerence, you can import your own impulse responses and save these as programs or presets. WAVE and AIFF files with a mono, stereo, true-stereo, or multi-channel (up to 5.0) configuration are supported. If a multi-channel file contains an LFE channel, this channel is ignored.

REVerence uses the same channel width as the track it is inserted on. When importing impulse response files with more channels than the corresponding track, the plug-in only reads as many channels as needed. If the impulse response file contains fewer channels than the track, REVerence generates the missing channels (for example, the center channel as a sum of the left and right channels). If the rear channels are missing (when importing a stereo response file onto a 4.0 track, for example), the left and right channels are also used for the rear channels. In this case you can use the Rear offset parameter to create more spatiality.

Importing Impulse Responses

To import impulse responses, proceed as follows:

1. In the program matrix, click the Import button.

2. Navigate to the file that you want to import, and click Open.

The file is loaded into REVerence. The channels from an interleaved file are imported in the same order as in other areas of the program (for example, the VST Connections window), see below.

Reverb Plug-ins

3. Make the appropriate settings and add a picture, if available. Pictures residing in the same folder as the impulse response file or in the parent

folder are automatically found and displayed.

4. Click the Store button to save the impulse response and its settings as a program. That way you can recall the setup at any time.

The program slot turns blue, indicating that a program is loaded.

Ö When saving a program, the impulse response file itself is only referenced. It still

resides in the same location as before and is not modified in any way.

5. Repeat these steps for any impulse response files that you want to work with.

REVerence reads input channels in the following order:

No. of input channels

1 L

2 L/R

3 L/R/C

4 L/R/LS/RS (if inserted on a track with a 4.0 channel configuration,

4 LL/LR/RL/RR (if inserted on a track with a stereo configuration, see

5 L/R/C/LS/RS

6 L/R/C/LFE/LS/RS (LFE is being ignored.)

Channel order in REVerence

see below)

below)

True Stereo

Impulse responses recorded as trues-stereo files enable you to create a very realistic impression of the corresponding room. REVerence can only process true-stereo impulse response files with the following channel configuration (in exactly that order): LL, LR, RL, RR.

The Included Effect Plug-ins

Reverb Plug-ins

The channels are defined as follows:

Channel The signal from this source… …was recorded with this

microphone

LL left source left microphone

LR left source right microphone

RL right source left microphone

RR right source right microphone

Ö If your true-stereo impulse responses are only available as separate mono files, you

can use the Export Audio Mixdown function to create REVerence compliant interleaved files (see the Operation Manual).

By default, REVerence automatically works in true-stereo mode when the plug-in is inserted on a stereo track and you load a 4-channel impulse response.

Therefore, if you are working with surround files, that is, 4-channel impulse responses recorded with a Quadro configuration (L/R, LS/RS), you need to insert the plug-in on an audio track with a 4.0 configuration. On a stereo track these files would be processed in true-stereo mode, too.

So how can you prevent REVerence from unintentionally processing surround files in true-stereo mode? The answer is a “Recording Method” attribute that can be written to the iXML chunk of the corresponding impulse response file. Whenever you load an impulse response with a 4-channel configuration on a stereo track, REVerence searches the iXML chunk of the file. If the plug-in finds the Recording Method attribute, the following happens:

• If the attribute is set to “TrueStereo”, the plug-in works in true-stereo mode.

• If the attribute is set to “A/B” or “Quadro”, the plug-in works in normal stereo mode

and processes only the L/R channels of the surround file.

Ö You can use the Attribute Inspector in the MediaBay to tag your own impulse

response files with the Recording Method attribute. For more information, see the Operation Manual.

Relocating Content

Once you have imported your own impulse responses in REVerence you can comfortably work with them on your computer. But what if you need to transfer your content to another computer, for example because you work sometimes with a PC and sometimes with a notebook, or you need to hand over a project to a colleague in the studio?

The factory content is not a problem since it is also present on the other computer. For these impulse responses you just need to transfer your REVerence programs and presets to be able to access your setups.

User content is a different matter, though. If you have transferred your audio files to an external drive or a different hard disk location on the other computer, REVerence cannot access the impulse responses any more since the old file paths have become invalid.

The Included Effect Plug-ins

Reverb Plug-ins

To access your impulse responses again, proceed as follows:

1. Transfer you audio files to a location that you can access from the second computer (for example, an external hard disk).

If you keep the files in the same folder structure as on the first computer, REVerence automatically finds all files contained in this structure.

2. Transfer any REVerence presets or programs that you need to the second computer.

If you are unsure where the presets need to be stored, you can find the paths in the MediaBay (see the Operation Manual).

3. Open REVerence on the second computer and try to load the preset or program that you want to work with.

The Locate Impulse Response dialog opens.

4. Navigate to the folder that contains your impulse responses. Click Open. REVerence is now able to access all the impulse responses stored in this location.

The new path to these audio files has not been saved yet. To make the files permanently available without having to use the Locate dialog, you need to save your programs or presets under a different name.

RoomWorks

Included with

RoomWorks is a highly adjustable reverb plug-in for creating realistic room ambience and reverb effects in stereo and surround formats. The CPU usage is adjustable to fit the needs of any system. From short room reflections to cavern-sized reverb, this plug-in delivers high quality reverberation.

The following parameters are available:

Parameter Description

Input – Lo Freq Determines the frequency at which the low-shelving filter takes effect.

Input – Hi Freq Determines the frequency at which the high-shelving filter takes

Input – Lo Gain Controls the amount of boost or attenuation for the low-shelving filter.

Input – Hi Gain Controls the amount of boost or attenuation for the high-shelving

Cubase LECubase AICubase

Elements

– – – – X X –

Both the high and low settings filter the input signal prior to reverb processing.

effect. Both the high and low settings filter the input signal prior to reverb processing.

filter.

Cubase

Artist

Cubase Nuendo NEK

The Included Effect Plug-ins

Reverb Plug-ins

Parameter Description

Reverb – Pre-Delay

Reverb – Reverb Time

Reverb – Size Alters the delay times of early reflections to simulate larger or smaller

Reverb – Diffusion Affects the character of the reverb tail. Higher values lead to more

Reverb – Width Controls the width of the stereo image. 100 % gives you full stereo

Reverb – Variation button

Reverb – Hold button

Damping – Lo Freq Determines the frequency below which low-frequency damping

Damping – High Freq

Damping – Low Level

Damping – High Level

Envelope – Amount

Envelope – Attack The envelope settings in RoomWorks control how the reverb follows

Envelope – Release

Surround – Distance

Controls how much time passes before the reverb is applied. This allows you to simulate larger spaces by increasing the time it takes for first reflections to reach the listener.

Allows you to set the reverb time in seconds.

spaces.

diffusion and a smoother sound, while lower values lead to a clearer sound.

reverb. At 0

Clicking this button generates a new version of the same reverb program using altered reflection patterns. This is helpful when certain sounds are causing odd ringing or undesirable results. Creating a new variation often solves these issues. There are 1000 possible variations.

Clicking this button freezes the reverb buffer in an infinite loop (yellow circle around button). You can create some interesting pad sounds using this feature.

occurs.

Determines the frequency above which high-frequency damping occurs.

Affects the decay time of low frequencies. Normal room reverb decays quicker in the high- and low-frequency range than in the midrange. Lowering the level percentage causes low frequencies to decay quicker. Values above 100 more slowly than the mid-range frequencies.

Affects the decay time of high frequencies. Normal room reverb decays quicker in the high- and low-frequency range than in the midrange. Lowering the level percentage causes high frequencies to decay quicker. Values above 100 more slowly than the mid-range frequencies.

Determines how much the envelope attack and release controls affect the reverb itself. Lower values have a more subtle effect while higher values lead to a more drastic sound.

the dynamics of the input signal in a fashion similar to a noise gate or downward expander. Attack determines how long it takes for the reverb to reach full volume after a signal peak (in milliseconds). This is similar to a pre-delay but the reverb is ramping up instead of starting all at once.

Determines how long after a signal peak the reverb can be heard before being cut off, similar to a gate’s release time.

This control is only available for surround configurations. With this parameter you can control where the virtual listening position is within the room. Positive values position the listener closer to the front of the room and negative values place the listener towards the rear of the room.

%, the reverb is all in mono.

% cause low frequencies to decay

% cause high frequencies to decay

The Included Effect Plug-ins

Reverb Plug-ins

Parameter Description

Surround – Rotate button

Surround – Balance

Output – Mix Determines the balance of dry (unprocessed) and wet (processed)

Output – Wet only button

Output – Efficiency Determines how much processing power is used for RoomWorks.

Output – Export button

Output – Output meter

This button is only available for surround configurations. When active, the perspective of the room is shifted 90°.

This control is only available for surround configurations. Balance controls the relative levels between the forward and rear speakers. Positive values favor the front speakers and negative values favor the rear speakers. When the Rotate option is activated, these relationships shift 90°.

signal. When RoomWorks is used as an insert for an FX channel, you most likely want to set this to 100

This button defeats the mix parameter, setting the effect to 100 % wet or affected signal. This button should normally be pressed when RoomWorks is being used as a send effect for an FX or group channel.

The lower the value, the more CPU resources are used, and the higher the quality of the reverb. Interesting effects can be created with very high Efficiency settings (>90

Determines if during audio export RoomWorks uses the maximum CPU power for the highest quality reverb. During export you may wish to keep a higher efficiency setting to achieve a specific effect. If you want the highest quality reverb during export, make sure this button is activated.

Indicates the level of the output signal.

% or use the wet only button.

%). Experiment for yourself.

RoomWorks SE

Included with

RoomWorks SE is a lite version of the RoomWorks plug-in. This plug-in delivers high quality reverberation, but has fewer parameters and is less CPU demanding than the full version.

The following parameters are available:

Parameter Description

Pre-Delay Controls how much time passes before the reverb is applied. This

Reverb Time Allows you to set the reverb time in seconds.

Cubase LECubase AICubase

Elements

X X X X X X –

allows you to simulate larger spaces by increasing the time it takes for first reflections to reach the listener.

Cubase

Artist

Cubase Nuendo NEK

The Included Effect Plug-ins

Spatial + Panner Plug-ins

Parameter Description

Diffusion Affects the character of the reverb tail. Higher values lead to more

diffusion and a smoother sound, while lower values lead to a clearer sound.

Hi Level Affects the decay time of high frequencies. Normal room reverb

decays quicker in the high- and low-frequency range than in the midrange. Lowering the level percentage causes high frequencies to decay quicker. Values above 100 more slowly than the mid-range frequencies.

Lo Level Affects the decay time of low frequencies. Normal room reverb

decays quicker in the high- and low-frequency range than in the midrange. Lowering the level percentage causes low frequencies to decay quicker. Values above 100 more slowly than the mid-range frequencies.

Mix Determines the balance of dry (unprocessed) and wet (processed)

signal. When using RoomWorks SE inserted in an FX channel, you most likely want to set this to 100

% cause high frequencies to decay

% cause low frequencies to decay

% or use the wet only button.

Spatial + Panner Plug-ins

This section contains descriptions of the plug-ins in the “Spatial + Panner” category.

Anymix Pro

Cubase LECubase AICubase

Included with

The Anymix Pro plug-in from IOSONO is a sophisticated surround panner and a powerful upmix/fold down processor that converts any given audio material into output formats ranging from mono to 8.1.

Input/Output Configuration

The input/output configuration of the plug-in can be selected from the In and Out pop-up menus in the top left corner of the plug-in panel.

Cubase

Elements

– – – – – X –

Artist

Cubase Nuendo NEK

If Anymix Pro is used as an insert effect, the maximum input and output configuration cannot exceed the track width of the current track.

If Anymix Pro is used as a panner, the maximum input configuration cannot exceed the track width of the current track. The maximum output configuration cannot exceed the width of the output bus that the track is currently routed to.

The Included Effect Plug-ins

Channel Order

The plug-in uses the channel order of the host application unless the selected output configuration differs from the track configuration.

Choosing an output configuration that differs from the current track configuration results in channel oddities.

If the output configuration of the track is not a subset of the plug-in output configuration, for example, track = 6.1 cine and plug-in output = 7.0 music, the channels are routed as follows:

1 2 3 4 5 6 7 8 9

L R C LFE LS RS RSS/RC LSS/LC CS

Ö Channels that are missing in the output configuration are automatically skipped.

Example:

Track configuration:

6.1 Cine

Plug-in output configuration:

7.0 Music

Result OK Mismatch

Spatial + Panner Plug-ins

1 2 3 4 5 6 7 8 9

L R C LFE LS RS CS

L R C LS RS LSS RSS

Latency Compensation

Anymix Pro causes a processing delay. The amount of latency depends on the buffer size of the audio card and the processing mode of the plug-in, that is, panning or upmix. Steinberg host applications can compensate this delay automatically.

The Included Effect Plug-ins

The Plug-In Panel

The panel of Anymix Pro is divided into several sections, with the stage view taking the most space to display the position and movement of the input channels, output configuration, and distance-dependent filter values. On the right side, there are the controls for position and movement, and the bottom section of the plug-in panel contains the upmix controls.

Ö The plug-in panel has two different display modes, panning and upmix.

Panning mode

Spatial + Panner Plug-ins

Panning

In the stage view, input channels are represented by red icons, output channels by gray speakers in the background.

Moving the input channels outside the loudspeaker setup results in panning between the two nearest output speakers. The input channels that are placed at smaller distances are distributed to several output speakers.

• To change the position of the input group, click and drag anywhere in the stage view, or right-click in the stage view. Right-clicking causes the channels to jump to the new position.

Ö The distance between the input channels automatically shrinks when these are moved

to the border of the stage. This lets you create the illusion of depth when moving stereo or multi-channel material.

Position Section

In addition to using the stage view, the input channels can also be moved using the controls at the top right of the plug-in panel. The following options are available:

Option Description

Angle/Radius Control the position of the center point of the input group, relative to

the center of the stage view.

X/Y Move the center point horizontally and vertically.

The Included Effect Plug-ins

Spatial + Panner Plug-ins

Option Description

Rotation Rotates the input group around its center point.

Link Angle & Rotation

Changes the rotation of the input group from self-centered to stage-centered.

Depth Scales the input group vertically.

Width Scales the input group horizontally.

Link Depth & Width Keeps the aspect ratio between Depth and Width scaling.

Ö By pressing [Shift] while using the controls, you can fine-adjust all parameters.

Individual Channel Adjustment

You can change the positions of the input channels individually by double-clicking the corresponding input icon in the stage view. A separate panel with channel-specific parameters opens.

The following options are available:

Option Description

Radius/Angle Control the position of the selected input channel, relative to the

center of the input group.

X/Y Move the selected input channel horizontally and vertically.

Volume Applies gain to the selected input channel.

LFE Volume Controls the amount of LFE for the selected input channel.

Spread Distributes the audio from the selected input channel to more than

two output channels. At 0 % the audio source is rendered where the channel icon is placed. At 100 % the audio is evenly distributed to all speakers of the output configuration.

Manual Delay Adds a delay to the selected input channel.

Link buttons Activate these buttons to link the corresponding parameters in the

current plug-in instance. Adjusting the value of a linked parameter changes the other linked parameters, too.

The individual input channel parameters cannot be automated from the host application, but the adjustments you make for each input channel are saved for each plug-in instance and panner in the session.

The Included Effect Plug-ins

Spatial + Panner Plug-ins

Restricting Movement

You can use the double-arrow buttons at the top right of the stage view to restrict the direction of movement of the object in the stage view to orthogonal or diagonal, for easy automation.

Ö In most cases objects move on very simple routes around the audience. By restricting

the direction of movement, you can quickly create accurate movements.

Distance-Dependent Filters

To create immersive mixes even faster, Anymix Pro is equipped with a distancedependent filter unit that lets you adjust the volume and air damping of moving objects automatically.

The following filters are available:

Option Description

Loudness Lowers the volume for objects that are further away.

EQ Dampens the high frequencies of objects that are further away.

For both of the filters you can choose an attenuation curve from the corresponding pop-up menu:

Option Description

Off Deactivates the distance-dependent filter.

Linear The filtering starts right from the center point and is applied linearly.

Select this curve type if even tiny movements should have an impact on the distance-dependent filter.

Sinusoidal The filtering starts approximately at loudspeaker distance and

increases exponentially with distance. Select this curve type if movements in the center circle should have no audible impact on the distance-dependent filter.

Elliptical The filtering starts approximately at two thirds of the stage with an

exponential attenuation curve. Select this curve type if only movements along the border of the stage should have an impact on the distance-dependent filter.

Ö The current values can be shown in the speaker icon labels, using the Display pop-up

menu above the stage view.

The distance-dependent filters can be further adjusted using the advanced options, see

“Advanced Options” on page 103.

100

The Included Effect Plug-ins

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

Specifications and Main Features

Frequently Asked Questions

User Manual

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

MultibandCompressor

Tube Compressor

VintageCompressor

VSTDynamics

EQ Plug-ins

DJ-EQ

GEQ-10/GEQ-30

StudioEQ

CurveEQ

Filter Plug-ins

DualFilter

MorphFilter

PostFilter

StepFilter

ToneBooster

WahWah

Mastering Plug-ins

UV22HR

Modulation Plug-ins

AutoPan

Chopper

Chorus

Cloner

Flanger

Metalizer

Phaser

RingModulator

Rotary

StudioChorus

Tranceformer

Tremolo

Vibrato

Pitch Shift Plug-ins

Octaver

Pitch Correct

PitchDriver

Reverb Plug-ins

REVerence

RoomWorks

RoomWorks SE

Spatial + Panner Plug-ins

Anymix Pro