Steinberg Cubase 4.0 Plug-in Reference

Plug-in Reference

Original manual by Anders Nordmark

Revision: Cristina Bachmann, Heiko Bischoff, Marion Bröer, Sabine Pfeifer

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.

All product and company names are ™ or ® trademarks of their respective owners. Windows XP is a trademark of Microsoft Corporation. Windows Vista is either a registered trademark or trademark of Microsoft Corporation in the United States and/or other countries. The Mac logo is a trademark used under license. Macintosh and Power Macintosh are registered trademarks.

Release Date: October 19, 2007

Table of Contents

5 The included effect plug-ins

6 Introduction 6 Delay plug-ins 9 Distortion plug-ins 10 Dynamics plug-ins 19 EQ plug-ins 21 Filter plug-ins 25 Mastering – UV 22 HR (Cubase only) 25 Modulation plug-ins 32 Other plug-ins 34 Restoration plug-ins 34 Reverb plug-ins 36 Spatial plug-ins 37 Surround plug-ins (Cubase only) 37 Tools plug-ins

41 The included VST Instruments

42 Introduction 42 Prologue 42 Sound parameters 47 Modulation and controllers 52 Spector (Cubase only) 52 Sound parameters 54 Modulation and controllers 60 Mystic (Cubase only) 60 Sound parameters 62 Modulation and controllers 67 HALionOne 69 Embracer – Surround Pad Synthesizer

(Cubase only)

71 Monologue – Monophonic Analog Modeling

Synthesizer (Cubase only)

73 Diagrams

75 MIDI effects

76 Introduction 76 Arpache 5 77 Arpache SX 78 Autopan 79 Chorder 80 Compress 81 Context Gate 82 Density 82 Micro Tuner 82 MIDIControl 83 MIDIEcho 84 Note to CC 85 Quantizer 85 Step Designer 87 Track Control 89 Track FX 89 Transformer

90 Index

Table of Contents

The included effect plug-ins

Introduction

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

In Cubase, 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 VST3, this is indicated by an icon in front of the name of the plug-in as displayed in plug-in selection menus (for further information, see the chapter “Audio Effects” in the Operation Manual).

Delay plug-ins

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

ModMachine (Cubase only)

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 parameters are as follows:

Parameter Description

Delay This is where you specify the base note value for the de-

Tempo sync Delay on/off

Rate The Rate parameter sets the base note value for tempo

Tempo sync Rate on/off

Width This sets the amount of delay pitch modulation. Note that

Feedback This sets the number of repeats for the delay.

Drive This parameter adds distortion to the feeback loop. The

Mix Sets the level balance between the dry signal and the ef-

Nudge Clicking the Nudge button once will momentarily speed

Signal path graphic

Output/Loop The Filter can either be placed in the feedback loop of the

Filter type This toggle button allows you to select a filter type. Low-

Freq This sets the cutoff frequency for the filter. This is avail-

Speed This sets the speed of the filter frequency LFO modula-

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

The button below the Delay knob turns tempo sync for the delay parameter on or off. If set to off, the delay time can be set freely with the Delay knob.

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

The button below the Rate knob turns tempo sync for the rate parameter on or off. If set to off, the rate can be set freely with the Rate knob.

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

longer the Feedback, the more the delay repeats become distorted over time.

fect. If ModMachine is used as a send effect, this should be set to maximum (100%) as you can control the dry/effect balance with the send.

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

You can click on the Filter sections displayed in the graphic in the center of the plug-in to place the Filter section either before or after the Drive and Feedback parameters in the signal path.

delay or in its output path (see above).

pass/bandpass/hipass filter types are available.

able only, if filter frequency LFO tempo sync is deactivated and the Speed parameter (see below) is set to “0".

tion. If tempo sync is activated 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 rate can be set freely with the Speed knob.

The included effect plug-ins

Parameter Description

Range Lo/Hi These knobs specify the range (in Hz) of the filter fre-

Spatial This introduces an offset between the channels to create

Q-Factor This controls the resonance of the filter. This is available

Speed This sets the speed of the filter resonance LFO modula-

Range Lo/Hi These knobs specify the range of filter resonance modu-

Spatial This introduces an offset between the channels to create

quency modulation. Both positive (e.g. Lo set to 50 and Hi set to 10000) and negative (e.g. 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 instead controlled by the Freq parameter.

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

only, if filter resonance LFO tempo sync is deactivated and the Speed parameter (see below) is set to “0". If tempo sync is on, the resonance is controlled by the Speed and Range parameters.

tion. If tempo sync is activated, 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 rate can be set freely with the Speed knob.

lation. Both positive (e.g. Lo set to 50 and Hi set to 100) and negative (e.g. 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.

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

MonoDelay

This is a mono delay effect that can either be tempo-based or use freely specified delay time settings. The delay can also be controlled from another signal source via the SideChain input.

The parameters are as follows:

Parameter Description

Delay This is where you specify the base note value for the delay

Tempo sync on/off

Feedback This sets the number of repeats for the delay.

Filter Lo This filter affects the feedback loop of the effect signal

Filter Hi This filter affects the feedback loop of the effect signal

Mix Sets the level balance between the dry signal and the ef-

Side-Chain on/off

if tempo sync is on (1/1–1/32, straight, triplet or dotted). If tempo sync is off, it sets the delay time in milliseconds.

The button below the Delay Time knob is used to turn tempo sync on or off. If set to off, the delay time can be set freely with the Delay Time knob, without sync to tempo.

and allows you to roll off low frequencies from 10Hz up to 800Hz. The button below the knob activates/deactivates the filter.

and allows you to roll off high frequencies from 20kHz down to 1.2kHz. The button below the knob activates/ deactivates the filter.

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

When this is activated, the delay can be controlled by a signal routed to the Side-Chain input. When the sidechain signal exceeds the threshhold 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 chapter “Audio effects” in the Operation Manual.

The included effect plug-ins

PingPongDelay

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 parameters are as follows:

Parameter Description

Delay This is where you specify the base note value for the delay

Tempo sync on/off

Feedback This sets the number of repeats for the delay.

Filter Lo This filter affects the feedback loop and allows you to roll

Filter Hi This filter affects the feedback loop and allows you to roll

Spatial This parameter sets the stereo width for the left/right re-

Mix Sets the level balance between the dry signal and the ef-

Side-Chain on/off

if tempo sync is on (1/1–1/32, straight, triplet or dotted). If tempo sync is off, it sets the delay time in milliseconds.

The button below the Delay Time knob is used to turn tempo sync on or off. If set to off, the delay time can be set freely with the Delay Time knob, without sync to tempo.

off low frequencies up to 800 Hz. The button below the knob activates/deactivates the filter.

off high frequencies from 20kHz down to 1.2kHz. The button below the knob activates/deactivates the filter.

peats. Turn clockwise for a more pronounced stereo “ping-pong” effect.

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

When this is activated, the delay can be controlled by a signal routed to the Side-Chain input. When the sidechain signal exceeds the threshhold, 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 chapter “Audio effects” in the Operation Manual.

StereoDelay

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

The parameters are as follows:

Parameter Description

Delay 1 This is where you specify the base note value for the delay,

Delay 2 As above.

Tempo sync on/off

Feedback 1 & 2

Filter Lo This filter affects the feedback loop and allows you to roll

Filter Hi This filter affects the feedback loop and allows you to roll

Pan1 & 2 This sets the stereo position for each delay.

Mix Sets the level balance between the dry signal and the ef-

Side-Chain on/off

if tempo sync is on (1/1–1/32, straight, triplet or dotted). If tempo sync is off, it sets the delay time in milliseconds.

The buttons below each respective Delay knob are used to turn tempo sync on or off for the respective delay. If set to off, the delay time can be set freely with the Delay Time knobs.

This sets the number of repeats for each delay.

off low frequencies up to 800Hz. The button below the knob activates/deactivates the filter.

off high frequencies from 20kHz down to 1.2kHz. The button below the knob activates/deactivates the filter.

fect. If StereoDelay is used as a send effect, this should be set to maximum (100%) as you can control the dry/effect balance with the send.

The included effect plug-ins

Distortion plug-ins

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

AmpSimulator

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.

The parameters are as follows:

Parameter Description

Drive Governs 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 Use this to boost or damp the higher frequencies.

Volume This controls the overall output level.

Amplifier This allows you to select between various amplifier mod-

Cabinet Various speaker cabinet models. Click on the currently

Damping Lo/Hi Further tone controls for shaping the sound of the se-

els. Click on the currently selected amplifier name to open a pop-up with all the available amplifier models. This section can be bypassed by selecting “No Amp".

selected cabinet name to open a pop-up with all the available amplifier models.This section can be bypassed by selecting “No Speaker".

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

DaTube

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

The parameters are as follows:

Parameter Description

Drive Regulates the pre-gain of the “amplifier”. Use high values

Balance This controls the balance between the signal processed

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

if you want an overdriven sound just on the verge of distortion.

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

Distortion

Distortion will add crunch to your tracks.

The parameters are as follows:

Parameter Description

Drive Increases the distortion amount.

Feedback This parameter feeds part of the output signal back to the

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

Spatial Changes the distortion characteristics of the left and

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

effect input, increasing the distortion effect.

distortion effect.

right channel, thus creating a stereo effect.

The included effect plug-ins

SoftClipper (Cubase only)

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

The parameters are as follows:

Parameter Description

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

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

Output Adjusts the post-gain, or output level.

Second This allows you to adjust the amount of the second har-

Third This allows you to adjust the amount of the third harmonic

overdriven sound just on the verge of distortion.

to the original signal.

monic in the processed signal.

in the processed signal.

Dynamics plug-ins

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

Compressor

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 available parameters work as follows:

Parameter Description

Threshold (-60 to 0dB)

Ratio (1:1 to 8:1)

Soft Knee (On/Off)

Make-up (0–24dB or “Auto mode")

This setting determines the level where Compressor “kicks in”. Signal levels above the set threshold are affected, but signal levels below are not processed.

Ratio determines the amount of gain reduction applied to signals over the set threshold. A ratio of 3:1 means that for every 3dB the input level increases, the output level will increase by only 1 dB.

If this is off, signals above the threshold will be compressed instantly according to the set ratio (hard knee). When Soft Knee is activated, the onset of compression will be more gradual, producing a less drastic result.

This parameter is used to compensate for output gain loss, caused by compression. If the Auto button is activated, the knob becomes dark and the output is instead automatically adjusted for gain loss.

The included effect plug-ins

Parameter Description

Attack (0.1–100ms)

Hold (0– 2000ms)

Release (10– 1000ms or “Auto mode”)

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

Live mode (On/Off)

Side-Chain (On/Off)

This determines how fast Compressor will respond to signals above the set threshold. If the attack time is long, more of the early part of the signal (attack) will pass through unprocessed.

Sets the time the applied compression will affect the signal after exceeding the Threshold.

Sets the amount of time it takes for the gain to return to its original level when the signal drops below the Threshold level. If the “Auto” button is activated, Compressor will automatically find an optimal release setting that varies depending on the audio material.

This parameter determines whether the input signal is analysed 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.

When activated, Live mode disengages the “look ahead” feature of the Compressor. Look ahead does produce more accurate processing but will add 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.

When this is activated, the compression can be controlled by a signal routed to the Side-Chain input. When the sidechain signal exceeds the threshhold, the compression is triggered. For a description of how to set up Side-Chain routing, see the chapter “Audio effects” in the Operation Manual.

SPL DeEsser (Cubase only)

A de-esser is used to reduce 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. Conventional compression and/or equalizing will not easily solve this problem, but a de-esser can.

The SPL DeEsser has the following parameters:

Parameter Description

S-Reduction Controls the intensity of the de-essing effect. We recom-

Level display Indicates the dB value by which the level of the sibilant or

Auto Threshold See separate description below.

Male/Female This sets the s-frequency and sibilant recognition to the

mend that you start with a value between 4 and 7.

s-frequency is reduced. The display shows values between 0dB (no reduction) and minus 20dB (the s-frequency level is lowered by 20dB). Each segment in the display represents a level reduction of 2 dB.

characteristic frequency ranges of the female or male voice. The center frequency of the bandwidth at which the SPL DeEsser operates is located in the 7 kHz range for the female voice and in the 6kHz range for the male voice.

About the Auto Threshold function

Conventional de-essing devices all have a threshold parameter. This is used to set a threshold for the incoming signal level, above which the device starts to process the signal. The SPL DeEsser however has been designed for utmost ease-of-use. With Auto Threshold on (the button lights up) it automatically and constantly readjusts the threshold to achieve an optimum result. If you still wish to determine for yourself at which signal level the SPL DeEsser should start to process the signal, deactivate the Auto Threshold button. The SPL DeEsser will then use a fixed threshold.

When recording a voice, usually the de-esser's position in the signal chain is located after the microphone pre-amp and before a compressor/limiter. This is useful, as it keeps the compressor/limiter from unnecessarily limiting the overall signal dynamics by reacting to excessive sibilants and s-frequencies.

The Auto Threshold function keeps the processing on a constant level. The input threshold value is automatically and constantly adjusted to the audio input level. Even level differences of say 20dB do not have a negative impact on the result of the processing. The input levels may vary, but processing remains constant.

The included effect plug-ins

EnvelopeShaper (Cubase only)

EnvelopeShaper can be used to cut or boost the gain of the Attack and Release phase of the audio material. You can either use the knobs or drag the breakpoints in the graphic display to change parameter values. Be careful with levels when boosting the gain and if needed reduce the Output level to avoid clipping.

The following parameters are available:

Parameter Description

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

Length (5–200ms) This determines the length of the Attack phase.

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

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

Expander (Cubase only)

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 graphic display to change the Threshold and the Ratio parameter values.

The following parameters are available:

Parameter Description

Threshold (-60–0dB)

Ratio (1:1–8:1)

Soft Knee (On/Off)

Attack (0.1–100ms)

Hold (0–2000ms)

Release (10–1000ms or Auto mode)

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

This setting determines the level where expansion “kicks in”. Signal levels below the set threshold are affected, but signal levels above are not processed.

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

If this is off, signals below the threshold will be expanded instantly according to the set ratio ("hard knee"). When Soft Knee is activated, the onset of expansion will be more gradual, producing a less drastic result.

This determines how fast Expander will respond to signals below the set threshold. If the attack time is long, more of the early part of the signal (attack) will pass through unprocessed.

Sets the time the applied expansion will affect the signal below the Threshold.

Sets the amount of time it takes for the gain to return to its original level when the signal exceeds the Threshold level. If the “Auto” button is activated, Expander will automatically find an optimal release setting that varies depending on the audio material.

The included effect plug-ins

Parameter Description

Live mode (On/Off)

Side-Chain (On/Off)

When activated, Live mode disengages the look ahead feature of Expander. Look ahead does produce more accurate processing but will add a certain amount of latency as a trade-off. When Live mode is activated, there is no latency.

When this is activated, the expansion can be controlled by a signal routed to the Side-Chain input. When the side-chain signal exceeds the threshhold, the expansion is triggered. For a description of how to set up Side-Chain routing, see the chapter “Audio effects” in the Operation Manual.

Gate

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

The available parameters are as follows:

Parameter Description

Threshold (-60–0dB)

state LED This indicates whether the gate is open (LED lights up in

Filter buttons When the Side-chain button (see below) is activated, you

Side-chain (Off/On)

Center (50Hz– 20000Hz)

Q-Factor (0.01–10000)

This setting 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 will close the gate.

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

can use these buttons to set the filter type to either Low Pass, Band Pass or High Pass.

This button (below the Center knob) activates the filter. The input signal can then be shaped according to set Center and Q-Factor parameters which may be useful in tailoring how the Gate operates.

Sets the center frequency of the filter.

Sets the Resonance of the filter.

Parameter Description

Monitor (Off/On)

Attack (0.1–1000 ms)

Hold (0–2000ms)

Release (10–1000ms or “Auto”)

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

Live mode (On/Off)

Allows you to monitor the filtered signal.

This parameter sets the time it takes for the gate to open after being triggered. If the Live button (see below) is deactivated, it will ensure that the gate will already be 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.

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

This parameter sets the amount of time it takes for the gate to close (after the set hold time). If the “Auto” button is activated, Gate will find an optimal release setting, depending on the audio program material.

This parameter determines whether the input signal is analysed 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.

When activated, Live mode disengages the “look ahead” feature of the Gate. Look ahead does produce more accurate processing but will add 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.

The included effect plug-ins

Limiter

Maximizer

Limiter is designed to ensure that the output level never exceeds a certain 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 available parameters are the following:

Parameter Description

Input (-24–+24dB)

Output (-24–+6dB)

Release (0.1–1000ms or Auto mode)

Allows you to adjust the input gain.

This setting determines the maximum output level.

This parameter sets the amount of time it takes for the gain to return to its original level. If the “Auto” button is activated, Limiter will automatically find an optimal release setting that varies depending on the audio material.

Maximizer can be used to raise 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 tubelike distortion to the signal.

The available parameters are the following:

Parameter Description

Output (-24–+6dB)

Optimize (0–100)

Soft Clip (On/Off)

This setting determines the maximum output level. Should normally be set to 0 (to avoid clipping).

This setting determines the loudness of the signal.

Soft Clipper starts limiting (or clipping) the signal “softly”, at the same time generating harmonics which add a warm, tubelike characteristic to the audio material.

The included effect plug-ins

MIDI Gate

Gating, in its fundamental form, silences audio signals below a certain set threshold level. That means, when a signal rises above the set level, the Gate opens to let the signal through while signals below the set level are cut off. MIDI Gate, however, is a Gate effect that is not triggered by threshold levels, but instead by MIDI notes. Hence it needs both audio and MIDI data to function.

Setting up

MIDI Gate requires both an audio signal and a MIDI input to function.

To set it up, proceed as follows:

1. Select the audio to be affected by the MIDI Gate.

This can be audio material from any audio track, or even a live audio input (provided you have a low latency audio card).

2. Select the 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.

This can be an empty MIDI track, or a MIDI track containing data, it doesn’t matter. However, if you wish to play the MIDI Gate in real-time – as opposed to having a recorded part playing it – the track has to be selected for the effect to receive the MIDI output.

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.

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

Make sure the MIDI track is selected and start playback.

5. Now play a few notes on your MIDI keyboard.

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

The following MIDI Gate parameters are available:

Parameter Description

Attack This is used for determining how long it should take for

Hold Regulates how long the Gate remains open after a Note

Release This determines how long it takes for the Gate to close

Note To Attack

Note To Release

Velocity To VCA

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

the Gate to open after receiving a signal that triggers it.

On or Note Off message (see Hold Mode below).

(in addition to the value set with the Hold parameter).

The value you specify here determines to which extent the velocity values of the MIDI notes should affect the Attack. The higher the value, the more the Attack time will increase with high note velocities. Negative values will give shorter Attack times with high velocities. If you do not wish to use this parameter, set it to the 0 position.

The value you specify here determines to which extent the velocity values of the MIDI notes should affect the Release. The higher the value, the more the Release time will increase. If you do not wish to use this parameter, set it to the 0 position.

This controls to which extent the velocity values of the MIDI notes determine the output volume. A value of 127 means that the volume is controlled entirely by the velocity values, while a value of 0 means that velocities will have no effect on the volume.

the Gate will only remain 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 on the other hand, the Gate will remain open for as long as the MIDI note plays, and then apply the Hold and Release parameters.

The included effect plug-ins

MultibandCompressor (Cubase only)

The MultibandCompressor allows a signal to be split in up to 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 cut or boost the input gain by +/- 15dB after compression.

Bypassing frequency bands

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

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.

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 will be the threshold point. The compressor parameters for each of the four bands are as follows:

Parameter Description

Threshold (-60–0dB)

Ratio (1000–8000) (1:1 to 8:1)

Attack (0.1– 100ms)

Release (10– 1000ms or “Auto”)

This setting determines the level where Compressor “kicks in”. Signal levels above the set threshold are affected, but signal levels below are not processed.

Ratio determines the amount of gain reduction applied to signals over the set threshold. A ratio of 3000 (3:1) means that for every 3dB the input level increases, the output level will increase by only 1dB.

This determines how fast the compressor will respond to signals above the set threshold. If the attack time is long, more of the early part of the signal (attack) will pass through unprocessed.

Sets the amount of time it takes for the gain to return to its original level when the signal drops below the Threshold level. If the “Auto” button is activated, the compressor will automatically find an optimal release setting that varies depending on the audio material.

The Output dial

The Output dial controls the total output level that the MultibandCompressor passes on to Cubase. The range available is +/- 24dB.

The included effect plug-ins

VintageCompressor (Cubase only)

VSTDynamics

This is modelled after vintage type compressors. Compressor features separate controls for input gain, attack, release and output gain parameters. 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 gain (-24–48dB)

Output gain (-48–24dB)

Attack (0.1–100ms)

Punch (Off/On)

Release (10–1000ms or “Auto mode”)

Side-Chain (On/Off)

This setting, together with the Output gain 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.

This determines how fast Compressor will respond. If the attack time is long, more of the early part of the signal (attack) will pass 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 amount of time it takes for the gain to return to its original level. If the “Auto” button is activated, Vintage Compressor will automatically find an optimal release setting that varies depending on the audio material.

When this is activated, the compression can be controlled by a signal routed to the Side-Chain input. When the sidechain signal exceeds the threshhold the compression is triggered. For a description of how to set up Side-Chain routing, see the chapter “Audio effects” in the Operation Manual.

Gate

Compressor

Limiter

Routing selector

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

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 certain set threshold level. As soon as the signal level exceeds the set threshold, the gate opens to let the signal through. The Gate trigger input can also be filtered using an internal side-chain.

The available parameters are as follows:

Parameter Description

Threshold (-60–0dB)

state This indicates whether the gate is open (LED lights up in

Side-chain (On/Off)

LP (Lowpass), BP (Bandpass), HP (Highpass)

Center (50–22000Hz)

Q-Factor (0.001–10000)

This setting 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 will close the gate.

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

This button activates the internal side-chain filter. This lets you filter out parts of the signal that might otherwise trigger the gate in places you don’t want it to, or to boost frequencies you wish to accentuate, allowing for more control over the gate function.

These buttons set the basic filter mode.

This sets the center frequency of the filter.

This sets the resonance or width of the filter.

The included effect plug-ins

Parameter Description

Monitor (Off/On)

Attack (0.1–100ms)

Hold (0–2000ms)

Release (10–1000ms or “Auto”)

Allows you to monitor the filtered signal.

This parameter sets the time it takes for the gate to open after being triggered.

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

The Compressor section

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

The available parameters work as follows:

Parameter Description

Threshold (-60–0dB)

Ratio (1:1–8:1)

Make-Up (0–24dB)

Attack (0.1–100ms)

Release (10–1000ms or “Auto”)

Graphic display

This setting determines the level where Compressor “kicks in”. Signal levels above the set threshold are affected, but signal levels below are not processed.

This parameter is used to compensate for output gain loss, caused by compression. When Auto is on, gain loss will be compensated automatically.

This determines how fast Compressor will respond to signals above the set threshold. If the attack time is long, more of the early part of the signal (attack) will pass through unprocessed.

Use the graphic display to graphically set the Threshold or the Ratio value.

The Limiter section

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

The available parameters are the following:

Parameter Description

Output (-24–+6dB)

Soft Clip (On/Off)

Release (10–1000ms or “Auto”)

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

Soft Clipper acts differently compared to the limiter. When the signal level exceeds -6dB, SoftClip starts limiting (or clipping) the signal “softly”, at the same time generating harmonics which add a warm, tubelike characteristic to the audio material.

This parameter sets the amount of time it takes for the gain to return to its original level when the signal drops below the threshold level. If the “Auto” button is activated, Limiter will automatically find an optimal release setting that varies depending on the audio material.

The Module Configuration button

In the bottom right corner of the plug-in panel you will find a button with which 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.

GEQ-10/GEQ-30 (Cubase only)

These graphic equalizers are identical in every respect except for the number of available frequency bands (10 and 30 respectively). Each band can be cut or boosted by up to 12dB allowing for fine control of the frequency response. In 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.

• At the bottom of the window the respective frequency

bands are shown in Hz.

• At the top of the display, the amount of cut/boost is

shown in dB.

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

Parameter Description

Output This controls the overall gain of the equalizer.

Range This allows you to relatively adjust how much a set curve

Flatten button Resets all the frequency bands to 0dB.

Invert range This will invert the current response curve.

Mode The filter mode set here determines how the various fre-

cuts or boosts the signal. If the Range parameter is turned fully clockwise, +/- 12dB is the available range.

quency band contrrols interact to create the response curve. See also below.

About the filter modes

On the pop-up 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, which is sometimes desirable. As always, let your ears be the judge! Here follow brief descriptions of the filter modes:

• True Response – serial filters with accurate frequency response.

• Digi Standard – resonance of last band depends on sample rate.

• Variable Q – parallell filters where the resonance depends on the amount of gain. Musical sounding.

• Constant Q u – parallell filters where the resonance of the first and last bands depends on the sample rate (u=unsymmetric).

• Constant Q s – parallell filters where the resonance is raised when boosting the gain and vice versa (s=symmetric).

• Resonant – serial filters where a gain increase of one band will lower the gain in adjacent bands.

The included effect plug-ins

StudioEQ (Cubase only)

This is a high-quality 4-band parametric stereo equalizer with two fully parametric midrange bands. The low and high bands can act as either shelving filters (three types) or as a Peak (bandpass) or Cut (lowpass/highpass) filter.

Making settings

1. Click the corresponding On button to the left of the EQ curve display to activate any or all of the Low, Mid 1, Mid 2 or High equalizer bands.

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

2. Set the parameters for an activated EQ band.

This can be done in several ways:

• By using the knobs.

• By clicking a value field and entering values numerically.

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

By using this method, you control both the Gain and Frequency parameters simultaneously. The knobs turn accordingly when you drag points.

The following parameters are available:

Parameter Description

Low Freq (20 to 2000Hz)

Low Gain (-20 to +24dB)

Low Q-Factor This controls the width or resonance of the Low band.

Low Filter mode

Mid 1 Freq (20 to 20000Hz)

Mid 1 Gain (+/- 24dB)

Mid 1 Q-Factor (0.5 to 10)

Mid 2 Freq (20 to 20000Hz)

Mid 2 Gain (-20 to +24dB)

Mid 2 Q-Factor (0.5 to 10)

High Freq (200 to 20000Hz)

High Gain (-20 to +24dB)

High Q-Factor This parameter controls the width or resonance of the

High Filter mode

Output (-24 to +24dB)

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

This sets the frequency of the Low band.

This sets the amount of cut/boost for the Low band.

For the Low band, you can select between three types of shelving filters or Peak (bandpass) or Cut (lowpass/highpass) filters. The Gain parameter will be fixed if Cut mode is selected.

-Shelf I adds resonance in the opposite gain direction slightly over 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 sets the center frequency of the Mid 1 band.

This sets the amount of cut/boost for the Mid 1 band.

This sets the width of the Mid 1 band. The higher this value, the “narrower” the bandwidth.

This sets the center frequency of the Mid 2 band.

This sets the amount of cut/boost for the Mid 2 band.

This sets the width of the Mid 2 band. The higher this value, the “narrower” the bandwidth.

This sets the frequency of the High band.

This sets the amount of cut/boost for the High band.

High band.

For the High band, you can select between three types of shelving filters, and Peak or Cut filters. The Gain parameter will be fixed if Cut mode is selected.

-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 parameter allows you to adjust the overall output level.

keeping the output level constant regardless of the EQ settings.

The included effect plug-ins

Filter plug-ins

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

General operation

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

DualFilter

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

The following parameters are available:

Parameter Description

Position This parameter sets the filter cutoff frequency. If you set

Resonance Sets the sound characteristic of the filter. With higher

this to a negative value, DualFilter will act as a low-pass filter. Positive values cause DualFilter to act as a highpass filter.

values, a ringing sound is heard.

StepFilter

Setting step values

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

• Individual step entries can be freely dragged up or down the vertical axis, or directly set by clicking in an empty grid box. By click-dragging left or right, consecutive step entries will be set to the pointer position.

Setting filter cutoff values in the grid window.

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

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

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

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 patterns are saved together in the 8 Pattern memories.

• To select new patterns you use the pattern selector.

New patterns are all set to the same step value by default.

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

The included effect plug-ins

Pattern Selector

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 memory location, which is useful for creating variations on a pattern.

• Select the pattern you wish to copy, click the Copy but-

ton, select another pattern memory location and click Paste.

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

ToneBooster

StepFilter parameters

Parameter/ Value

Base Cutoff This sets the base filter cutoff frequency. Cutoff values

Base Resonance

Glide This will apply glide between the pattern step values,

Filter Mode This slider selects between lowpass (LP), bandpass (BP)

Sync 1/1 to 1/32 (Straight, Triplet or Dotted)

Output Sets the overall volume.

Mix Adjusts the mix between dry and processed signal.

Description

set in the Cutoff grid window are values relative to the Base Cutoff value.

This sets the base filter resonance. Resonance values set in the Resonance grid window are values relative to the Base Resonance value. Note that very high Base Resonance settings can produce loud ringing effects at certain frequencies.

causing values to change more smoothly.

or highpass (HP) filter modes (from left to right respectively).

This sets the pattern beat resolution, i.e. what note values the pattern will play in relation to the tempo.

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 9), greatly enhancing the tonal

varieties available.

The following parameters are available:

Parameter Description

Tone This sets the center filter frequency.

Gain Allows you to adjust the gain of the selected frequency

Width This sets the resonance of the filter.

Mode This sets the basic operational mode of the filter; Peak or

range by up to 24dB.

Bandpass.

The included effect plug-ins

Tonic – Analog Modeling Filter (Cubase only)

Tonic is a versatile and powerful analog modeling filter plug-in based on the filter design of the Monologue monophonic synthesizer. Its variable characteristics plus the powerful modulation functions make it an excellent choice for all current music styles. Designed to be more a creative tool rather than a tool to fix audio problems, it can add color and punch to your tracks while being light on CPU usage.

The Tonic Analog Modeling Filter has the following properties:

• Dynamic multimode analog modeling filter (mono/stereo).

• 24dB low pass, 18dB low pass, 12 dB low pass, 6dB

low pass, 12dB band pass and 12dB high pass modes.

• Adjustable drive and resonance up to self-oscillation.

• Envelope follower for dynamic filter control with an

audio signal.

• Audio and MIDI trigger modes.

• Powerful step LFO with smoothing and morphing.

• X/Y matrix pad for additional realtime modulation with

access to all Tonic parameters.

Filter

Parameter Description

Mode Sets the filter type. Available filter types are: 24dB Low

Cutoff Sets the filter cutoff frequency. How this parameter oper-

Res Changes the resonance of the multi-mode filter. Full res-

Drive Drive adds a soft, tube-like saturation to the sound. Like

Mix Sets the balance between dry and effect signal.

Ch. Choose between mono or stereo operation. When set to

pass, 18dB Low pass, 12 dB Low pass, 6 dB Low pass, 12dB Band pass and 12 dB High pass.

ates is governed by the filter type.

onance puts the filter into self-oscillation.

for an analog filter, the amount of saturation also depends on the input signal level.

mono, the output signal of Tonic will be mono regardless of the input signal.

Env Mod

Parameter Description

Mode Tonic offers three types of envelope modulation:

Attack Controls the attack time of the envelope. Higher attack

Release Controls the release time of the envelope. Higher release

Depth Controls the amount of envelope control applied to the

LFO Mod Using this parameter, envelope level modulates the LFO

“Follow” tracks the input signal’s volume envelope for dynamic control of the filter cutoff. “Trigger” uses the input signal to trigger the envelope and have it run through a single envelope cycle. “MIDI” uses any MIDI note to trigger the envelope. The filter cutoff tracks the keys played on the keyboard. In addition velocities higher than 80 will add an accent to the envelope by increasing the envelope depth and reducing the decay time. For MIDI control, set up a separate MIDI control track and select “Tonic” from the output pop-up menu for the track.

times result in slower rise times when the envelope is triggered.

times result in slower envelope tails.

filter cutoff level.

speed. A rather stunning effect.

The included effect plug-ins

X/Y Pad

Parameter Description

X Par Sets the parameter to be modulated on the x axis of the

Y Par Sets the parameter to be modulated on the y axis of the

XY Pad Use the mouse to control any two of Tonic’s parameters

XY Pad. All of Tonic’s parameters are available as destinations

XY Pad.

in combination. By moving the mouse horizontally, you can control the x parameter, by moving it vertically, you can control the y parameter. You can also record controller movements as automation data.

LFO Mod

Parameter Description

Mode Sets the direction of the step LFO modulation. The avail-

Depth Controls the amount of LFO modulation applied to the fil-

Rate Controls the speed of the LFO modulation. The LFO rate

Smooth The smooth parameter controls the smoothing of the LFO

Morph Morph controls the playback value of the LFO step se-

Steps Sets the number of steps played in sequence. Deacti-

Preset Offers a number of step LFO waveform patterns.

Step Matrix Click into the step matrix to set the level for each of the

able modes are: Forward, Reverse, Alternating, and Random.

ter cutoff level.

is always in sync with the song tempo. For example: a rate of 4.00 steps per beat advances the step sequencer in 16th notes at a 4/4 time signature. A rate of 4.00 beats per step would advance the LFO at only one step per bar in a 4/4 time signature.

steps. This works like a glide effect applied to the filter cutoff.

quencer. It makes the LFO steps drift about randomly. Experiment freely with the morph parameter. As you return the knob to its zero position the step pattern will return to its original setting.

vated steps are grayed out in the step window.

Choices include: Sine, Sine+, Cosine, Triangle, Sawtooth, Square, Random and User (which is the pattern saved with the respective program).

16 LFO steps. A higher amount results in a deeper filter cutoff modulation. Click and drag along the matrix to “draw” a waveform.

WahWah

WahWah is a variable slope bandpass filter that can be auto-controlled by a side-chain signal or via MIDI modeling the well-known analog pedal effect (see below). 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 is at 50.

The parameters are as follows:

Parameter Description

Pedal This controls the filter frequency sweep.

Freq Lo/Hi Sets the frequency of the filter for the Lo and Hi Pedal

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

Gain Lo/Hi Sets the gain of the filter for the Lo and Hi Pedal posi-

Slope Specifies the slope of the filter; 6dB or 12dB.

Side-Chain On/Off

MIDI control

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

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

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

positions.

Pedal positions.

tions.

A signal routed to the Side-Chain input of the effect can control the Pedal parameter when this is activated. The louder the signal, the more the filter frequency (Pedal) is raised so the plug-in acts as an “auto-wha” effect. For a description of how to set up Side-Chain routing, see the chapter “Audio effects” in the Operation Manual.

The included effect plug-ins

Mastering – UV 22 HR (Cubase only)

The UV22 HR is a dithering plug-in, based on an advanced algorithm developed by Apogee. For an introduction to the concept of dithering, see the chapter “Audio Effects” in the Operation Manunal.

The following options can be set in the UV 22 HR control panel:

Option Description

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

Low This applies a lower level of dither noise.

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

Bit Resolution The UV22 HR supports dithering to multiple resolutions:

Dither should always be applied post output bus fader.

during silent passages in the material.

8, 16, 20 or 24 bits. You select the desired resolution by clicking the corresponding button.

Modulation plug-ins

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

AutoPan

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

The parameters are as follows:

Parameter Description

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

Tempo sync on/off

Width Sets the depth of the Autpan effect.

Shape Sets the modulation waveform. Sine and Triangle wave-

Side-Chain On/Off

note value for 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, without sync to tempo.

The button below the Rate knob is used to switch tempo sync on (the button lights up) or off.

forms are available.

A signal routed to the Side-Chain input of the effect can control the Width parameter when this is activated. For a description of how to set up Side-Chain routing, see the chapter “Audio effects” in the Operation Manual.

The included effect plug-ins

Chorus

This is a single stage chorus effect. It works by doubling whatever is sent into it with a slightly detuned version. See also “StudioChorus” on page 30.

The parameters are as follows:

Parameter Description

Tempo sync on/off

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

Width This determines the depth of the chorus effect. Higher

Spatial This sets the stereo width of the effect. Turn clockwise

Mix Sets the level balance between the dry signal and the ef-

Delay This parameter affects the frequency range of the modu-

Shape This changes the shape of the modulating waveform, al-

Filter Lo/Hi These parameters allow you to roll off low and high fre-

Side-Chain On/Off

The button below the Rate knob is used to switch tempo sync on or off. The button is lit when tempo sync is on.

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, without sync to tempo.

settings produce a more pronounced effect.

for a wider stereo effect.

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

lation sweep, by adjusting the initial delay time.

tering the character of the chorus sweep. Sine and triangle waveforms are available.

quencies of the effect signal, respectively.

When this is activated, the modulation can be controlled by a signal routed to the Side-Chain input. When the side-chain signal exceeds the threshhold the modulation will be controlled by the side-chain signal’s envelope. For a description of how to set up Side-Chain routing, see the chapter “Audio effects” in the Operation Manual.

Cloner (Cubase only)

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

The parameters are as follows:

Parameter Description

Voices This allows you to select the number of voices (up to

Spatial This spreads the added voices across the stereo spec-

Mix Sets the level balance between the dry signal and the ef-

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

Detune slider 1–4

Delay slider 1–4

Master Detune This parameter governs the overall depth of the detuning

Humanize Delay knob

Humanize Detune knob

Master Delay This parameter governs the overall depth of the delay for

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

trum. Turn clockwise for a deeper stereo effect.

fect. If Cloner is used as a send effect, this should be set to maximum as you can control the dry/effect balance with the send.

+/- 12dB.

This 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.

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

for all voices. If this is set to zero, no detuning takes place, regardless of the Detune slider settings.

Humanize is turned on and off with the Static Delay button button below this knob. When activated the delay settings are subtly varied, for a richer effect. Values range from 0 to 100 (strongest delay variation). If deactivated, the set delay amount is static, and the knob is blacked out.

Humanize is turned on and off with the Static Detune button below this knob. When activated, the detune settings are subtly varied, for a richer effect. Values range from 0 to 100 (strongest detune variation). If deactivated, the set detune amount is static, and the knob is blacked out.

all voices. If this is set to zero, no delay takes place, regardless of the Delay slider settings.

The included effect plug-ins

Flanger

Metalizer

Flanger is a classic flanger effect with added stereo enhancement.

The parameters are as follows:

Parameter Description

Tempo sync on/ off

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

Range Lo/Hi This sets the frequency boundaries for the flanger sweep.

Feedback This determines the character of the flanger effect.

Spatial This sets the stereo width of the effect. Turn clockwise

Mix Sets the level balance between the dry signal and the ef-

Shape This changes the shape of the modulating waveform, al-

Delay This parameter affects the frequency range of the modu-

Manual If this is activated, the flanger sweep will be static, i.e. no

Filter Lo/Hi These parameters allow you to roll off low and high fre-

Side-Chain On/Off

The button below the Rate knob is used to switch tempo sync on or off. The button is lit when tempo sync is on.

note value for 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, without sync to tempo.

Higher settings produce a more “metallic” sounding sweep.

for a wider stereo effect.

fect. If the Flanger is used as a send effect, this should be set to maximum as you can control the dry/effect balance with the send.

tering the character of the flanger sweep.

lation sweep, by adjusting the initial delay time.

modulation. You can instead change the sweep position manually by turning this knob.

quencies of the effect signal, respectively.

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

Parameter Description

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

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

Tone Governs the feedback frequency. The effect of this will

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

Mono button When this is on, the output of the Metalizer will be in mono.

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

Tempo sync on/off

Output Sets the overall volume.

Mix Sets the level balance between the dry signal and the ef-

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

be more noticeable with high Feedback settings.

Metalizer will work as a static filter.

note value for 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, without sync to tempo.

The button above the Speed knob is used to switch tempo sync on or off. The button is lit when tempo sync is on.

fect. If Metalizer is used as a send effect, this should be set to maximum as you can control the dry/effect balance with the send.

The included effect plug-ins

Phaser

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

The parameters are as follows:

Parameter Description

Tempo sync on/off

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

Width The width of the modulation effect between higher and

Feedback This determines the character of the phaser effect.

Spatial When using multi-channel audio, Spatial creates a 3-di-

Mix Sets the level balance between the dry signal and the ef-

Manual If this is activated, the phaser sweep will be static, i.e. no

Filter Lo/Hi These parameters allow you to roll off low and high fre-

Side-Chain On/Off

The button below the Rate knob is used to switch tempo sync on or off. The button is lit when tempo sync is on.

note value for 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, without sync to tempo.

lower frequencies.

Higher settings produce a more pronounced effect.

mensional impression by delaying modulation in each channel.

fect. If the Phaser is used as a send effect, this should be set to maximum as you can control the dry/effect balance with the send.

modulation. You can instead change the sweep position manually by turning this knob.

quencies of the effect signal, respectively.

Ringmodulator

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

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

Parameter Description

Oscillator LFO Amount

Oscillator Env. Amount

Oscillator Wave Selects the oscillator waveform; square, sine, saw or

Oscillator Range Determines the frequency range of the oscillator in Hz.

Oscillator Frequency

Oscillator Roll-Off

LFO Speed Sets the LFO Speed.

LFO Env. Amount

LFO Waveform Selects the LFO waveform; square, sine, saw or triangle.

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 will decrease the oscillator pitch, whereas right of center the oscillator pitch will increase when fed a loud input.

triangle.

Sets the oscillator frequency +/- 2 octaves within the selected range.

Cuts high frequencies in the oscillator waveform, to soften the overall sound. This is best used when harmonically rich waveforms are selected (e.g. square or saw).

Controls how much the input signal level – via the envelope generator – affects the LFO speed. Positive and negative values can be set, with center position representing no modulation. Left of center, a loud input signal will slow down the LFO, whereas right of center a loud input signal will speed it up.

The included effect plug-ins

Parameter Description

Invert Stereo This inverts the LFO waveform for the right channel of the

Envelope Generator (Attack and Decay dials)

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

Output Sets the overall volume.

Mix Adjusts the mix between dry and processed signal.

oscillator, 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 sets 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.

are merged, 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.

Rotary

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

The parameters are as follows:

Parameter Description

Speed (Stop/Slow/ Fast)

Mode Selects whether the Slow/Fast setting is a switch or a

Speed Mod Selects the Rotary speed from 0 (Stop) to 100 (Fast).

Overdrive Applies a soft overdrive or distortion.

Crossover Freq. Sets the crossover frequency (200–3000Hz) between

Slow Fine adjustment of the high rotor Slow speed.

Accel. Fine adjustment of the high rotor acceleration time.

This controls the speed of the Rotary in three steps.

variable control. When switch mode is selected and Pitch Bend is the controller, the speed will switch with an up or down flick of the bender. Other controllers switch at 64.

the low and high frequency loudspeakers.

Parameter Description

Fast Fine adjustment of the high rotor Fast speed.

Amp Mod High rotor amplitude modulation.

Freq Mod High rotor frequency modulation.

Slow Fine adjustment of the low rotor Slow speed.

Fast Fine adjustment of the low rotor Fast speed.

Accel Fine adjustment of the low rotor acceleration time.

Amp Mod. Adjusts amplitude modulation depth.

Level Adjusts overall bass level.

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

Angle Sets the simulated microphone angle. 0 = mono, 180 =

Distance Sets the simulated microphone distance from the

Output Adjusts the overall output level.

Mix Adjusts the mix between dry and processed signals.

one mic on each side.

speaker in inches.

Directing MIDI to the Rotary

For real-time MIDI control of the Speed parameter, MIDI must be directed to the Rotary.

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

If Rotary is selected on the “out:” menu, MIDI will be directed to the plugin from the selected track.

The included effect plug-ins

StudioChorus

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).

The parameters for each stage are as follows:

Parameter Description

Tempo sync on/off

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

Width This determines the depth of the chorus effect. Higher

Spatial This sets the stereo width of the effect. Turn clockwise

Mix Sets the level balance between the dry signal and the ef-

Delay This parameter affects the frequency range of the modu-

Shape This changes the shape of the modulating waveform, al-

Filter Lo/Hi These parameters allow you to roll off low and high fre-

Side-Chain On/Off

The button below the Rate knob is used to switch tempo sync on or off. The button is lit when tempo sync is on.

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, without sync to tempo.

settings produce a more pronounced effect.

for a wider stereo effect.

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

lation sweep, by adjusting the initial delay time.

tering the character of the chorus sweep. Sine and triangle waveforms are available.

quencies of the effect signal, respectively.

When this is activated, the modulation can be controlled by a signal routed to the Side-Chain input. When the side-chain signal exceeds the threshhold, the modulation will be controlled by the side-chain signal’s envelope. For a description of how to set up Side-Chain routing, see the chapter “Audio effects” in the Operation Manual.

Tranceformer

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

Parameter Description

Waveform buttons

Tone Sets the frequency (pitch) of the modulating oscillator

Depth Governs the depth of the pitch modulation.

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

Tempo sync on/off

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

Mono button Governs whether the output will be stereo or mono.

Output Adjusts the output level of the effect.

Mix Sets the level balance between the dry signal and the

Ö Note that clicking and dragging in the display allows you to adjust the Tone and Depth parameters at the same time!

Sets the pitch modulation waveform.

(1 to 5000Hz).

The button above the Speed knob is used to switch tempo sync on or off. The button is lit when tempo sync is on.

effect.

The included effect plug-ins

Tremolo

Vibrato

Tremolo produces amplitude (volume) modulation.

Parameters are as follows:

Parameter Description

Tempo sync on/off

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

Depth This governs the depth of the amplitude modulation.

Spatial This will add a stereo effect to the modulation.

Output Adjusts the output volume.

Side-Chain On/Off

The button below the Rate knob is used to switch tempo sync on or off. The button is lit when tempo sync is on.

note value for 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, without sync to tempo.

The Vibrato plug-in produces pitch modulation.

Parameter Description

Tempo sync on/off

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

Depth This governs the depth of the pitch modulation.

Spatial This will add a stereo effect to the modulation.

Side-Chain On/Off

The button below the Rate knob is used to switch tempo sync on or off. The button is lit when tempo sync is on.

note value for 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, without sync to tempo.

The included effect plug-ins

Other plug-ins

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

Bitcrusher

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

Parameter Description

Mode Select one of four operating modes for the Bitcrusher.

Sample Divider This sets the amount by which the audio samples are

Depth Use this to set the desired bit resolution. A setting of 24

Output Governs the output level from the Bitcrusher. Drag the

Mix This slider regulates the balance between the output from

Each mode will produce a result sounding a bit different. Modes I and III are nastier and noisier, while modes II and IV are more subtle.

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

gives the highest audio quality, while a setting of 1 will create mostly noise.

slider upwards to increase the level.

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

Chopper

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

Parameter Description

Waveform buttons

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

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

Tempo sync on/off

Stereo/Mono button

Mix Sets the level balance between the dry signal and the ef-

Sets the modulation waveform.

set by clicking in the graphic display.

note value for 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, without sync to tempo.

The button above the Speed knob is used to switch tempo sync on (the button lights up) or off.

Determines whether the Chopper will work as an autopanner (button set to “Stereo”) or a tremolo effect (button set to “Mono”).

fect. If Chopper is used as a send effect, this should be set to maximum.

The included effect plug-ins

Octaver

Tuner

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 parameters are as follows:

Parameter Description

Direct This adjusts the mix of the original signal and the gener-

Octave 1 This adjust the level of the generated signal one octave

Octave 2 This adjust the level of the generated signal two octaves

ated voice(s). A value of 0 means only the generated and transposed signal is heard. By raising this value, more of the original signal is heard.

below the original pitch. Set to 0 means the voice is muted.

This is a guitar tuner. Simply connect a guitar or other instrument to an audio input and select the Tuner as an insert effect (make sure you deactivate any other effect that alters pitch, like chorus or vibrato). When the instrument is connected, proceed as follows:

• Play a note.

The key is shown in the middle of the display. In addition, the frequency in Hz is shown in the bottom left corner and the octave range in the bottom right corner. If the key is wrong (e.g. if you wish to tune the E string and the key is shown as Fb), first tune the string so that the correct key is shown.

• The two arrows indicate any deviation in pitch by their position. If the pitch is flat, they will be positioned in the left half of the display, if the pitch is sharp they will be in the right half.

The deviation is also shown (in Cent) in the upper area of the display.

• Tune the instrument so that the two arrows are in the middle.

Repeat this procedure for each string.

The included effect plug-ins

Restoration plug-ins

Reverb plug-ins

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

Grungelizer

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

Parameter Description

Crackle This adds crackle to create that old vinyl record sound.

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

Noise This dial regulates the amount of static noise added.

Distort Use this dial to add distortion.

EQ Turn this dial to the right to cut off the low frequencies,

AC This emulates a constant, low hum of AC current.

Frequency switch

Timeline This dial regulates the amount of overall effect. The far-

The farther to the right you turn the dial, the more crackle is added.

lets you set the RPM (revolutions per minute) speed of the record (33/45/78 RPM).

and create a more hollow, lo-fi sound.

This sets the frequency of the AC current (50 or 60Hz), and thus the pitch of the AC hum.

ther to the right (1900) you turn this dial, the more noticeable the effect.

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

RoomWorks

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. RoomWorks has the following parameters:

Parameter Description

Low Freq Frequency at which the low shelving filter takes effect.

High Freq Frequency at which the high shelving filter takes effect.

Low Gain The amount of boost or cut for the low shelving filter.

High Gain The amount of boost or cut for the high shelving filter.

Pre-Delay The amount of time before the onset of reverb. This al-

Reverb Time Reverb Time in milliseconds.

Size This alters the delays times of early reflections to simulate

Diffusion This affects the character of the reverb tail. Higher diffu-

Width This controls the width of the stereo image. 100% gives

Variation Pressing this button will generate a new version of the

Hold Pressing this button freezes the reverb buffer in an infinite

Low Range This determines the frequency below which low damping

Both the high and low filters EQ the input signal prior to reverb processing.

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

larger or smaller spaces.

sion is smoother while less diffusion can be clearer. This emulates changing the types of surfaces in a room (brick vs. carpet for instance).

you full stereo reverb. At 0%, the reverb is all in mono.

same reverb program using altered reflection patterns. This is helpful when certain sounds are causing odd ringing or undesirable results. Creating a new variation will often solve these issues. There are 1000 possible variations.

loop (yellow circle around button). You can create some interesting pad sounds using this feature.

will occur.

The included effect plug-ins

Parameter Description

High Range This determines the frequency above which high fre-

Low Damping The amount of damping applied to the low frequencies. At

High Damping This affects the decay time of high frequencies. Normal

Amount This determines how much effect the envelope attack

Attack The envelope settings in RoomWorks control how the re-

Release The release determines how long after a signal peak the

Mix Determines the blend of dry (unprocessed) signal to wet

Wet only This button defeats the mix parameter, setting the effect

Distance This control is only available for surround configurations.

Rotate This button is only available for surround configurations.

Balance This control is only available for surround configurations.

Efficiency This unique control determines how much of the CPU is

quency damping will occur.

100%, no damping occurs. Values lower than 100% increase the amount of damping, reducing low frequencies over time. Values above 100% have the opposite effect.

room reverb decays quicker in the high and low frequency range than in the midrange. Lowering the damping percentage will cause high frequencies to decay quicker. Damping percentage values above 100% will cause high frequencies to decay longer than the midrange.

and release controls have on the reverb itself. Lower numbers have a more subtle effect while higher numbers sound more drastic.

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

reverb can be heard before being cut off, similar to a gate’s release time.

(processed) signal. When using RoomWorks inserted in an FX channel, you will most likely want to set this to 100% or use the Send button.

to 100% wet or affected signal. This button should normally be pressed when RoomWorks is being used as a send effect inserted on an FX or group channel.

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.

When active, the perspective of the room is shifted 90°.

Balance controls the relative levels between the forward and rear speakers. Positive values favor the front speakers and negative values favor the rear speakers. Note that when the Rotate option is activated, these relationships will shift 90°.

used for RoomWorks. The lower the percentage of efficiency, the more CPU resources will be used. This will yield a higher quality reverb than higher percentage settings. Interesting effects can be created with very high Efficiency settings (>90%). Experiment for yourself.

Parameter Description

Export This button determines if during audio export Room-

Works will use the maximum CPU power for the highest quality reverb or not. You may wish to keep a higher efficiency setting for a desired effect during export. If you want the highest quality reverb during export make sure this is selected (yellow circle around button).

Ö Cubase only: Note that the options in the Surround section on the far right of the RoomWorks panel are available only when using the plug-in as an insert for a surroundenabled track.

RoomWorks SE

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

Parameter Description

Pre-Delay The amount of time before the onset of reverb. This al-

Reverb Time Reverb Time in seconds.

Diffusion This affects the character of the reverb tail. Higher diffu-

High Damping Amount

Low Damping Amount

Mix Determines the blend of dry (unprocessed) signal to wet

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

sion is smoother while less diffusion can be clearer. This emulates changing the types of surfaces in a room (brick vs. carpet for instance).

This 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 damping percentage will cause high frequencies to decay quicker. Damping percentage values above 100 % will cause high frequencies to decay longer than the midrange.

The amount of damping applied to the low frequencies. At 100%, no damping occurs. Values lower than 100 % increase the amount of damping, reducing low frequencies over time. Values above 100% have the opposite effect.

(processed) signal. When using RoomWorks SE inserted in an FX channel, you will most likely want to set this to 100% or use the Send button.

The included effect plug-ins

Spatial plug-ins

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

MonoToStereo

This effect will turn a mono signal into a “pseudo-stereo” signal. The plug-in must be inserted on a stereo track playing a mono file to work.

The parameters are as follows:

Parameter Description

Width This controls the width or depth of the stereo enhance-

Delay This parameter increases the amount of differences be-

Color This parameter also generates differences between the

Mono This switches the output to mono, to check for possible

ment. Turn clockwise to increase the enhancement.

tween the left and right channels to further increase the stereo effect.

channels to increase the stereo effect.

unwanted coloring of the sound which sometimes can occur when creating an artificial stereo image.

StereoEnhancer

This plug-in will expand the stereo width of (stereo) audio material. It cannot be used with mono files.

The parameters are as follows:

Parameter Description

Width This controls the width or depth of the stereo enhance-

Delay This parameter increases the amount of differences be-

Color This parameter also generates differences between the

Mono This switches the output to mono, to check for possible

ment. Turn clockwise to increase the enhancement.

tween the left and right channels to further increase the stereo effect.

channels to increase the stereo enhancement.

unwanted coloring of the sound which sometimes can occur when enhancing the stereo image.

The included effect plug-ins

Surround plug-ins (Cubase only)

Tools plug-ins

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

Mix6To2 (Cubase only)

The Mix6To2 effect allows you to control the levels of up to six surround channels, and to mix these down to a stereo output. The pop-up menu contains a number of speaker arrangement presets that correspond to some default surround formats. The Mix6To2 lets you quickly mix down your surround mix format to stereo, and to include parts of the surround channels in the resulting mix.

• Note that Mix6To2 does not simulate a surround mix or

add any psycho-acoustical artifacts to the resulting output – it is simply a mixer. Also note that the Mix6To 2 should be placed in one of the post fader insert effect slots for the output bus.

Each of the surround channels has the following parameters:

• Two volume faders that govern the levels of the surround bus to the left and right side of the (master) bus.

• A Link button that links the two volume faders.

• Two Invert buttons allow you to invert the phase of the left and right side of the surround bus.

The Master bus has the following parameters:

• A Link button that links the two Master faders.

• A Normalize button. If activated, the mixed output will be normalized, i.e. the output level will automatically be adjusted so that the loudest signal is as loud as possible without clipping.

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

MultiScope (Cubase only)

The MultiScope can be used for viewing the waveform, phase linearity or frequency content of a signal. There are three different modes:

• Oscilloscope (Ampl.)

• Phase Correlator (Scope)

• Frequency Spectrum analyzer (Freq.)

Ampl (Oscilloscope) mode

• To view a signal waveform, open the MultiScope control panel and make sure that the button “Ampl.” in the lower left corner is lit.

• If the source signal is stereo you can now select either the Left or Right channel for viewing, or Stereo for both channels to be shown in the window. If it is a Mono signal, this won’t matter.

• If the MultiScope is used with a multi-channel track or output bus, you can select any speaker channel for viewing, or All Channels to view them all at once.

• You can now adjust the Amplitude knob to increase/ decrease the vertical size of the waveform, and the frequency knob to select the frequency area for viewing.

The included effect plug-ins

• The “Freeze” button can be used to freeze the display

for all three Scope modes.

Click it again to exit freeze mode.

Phase Correlator mode

To select the phase correlator, click the “Scope” button so that it lights up. The phase correlator indicates the phase and amplitude relationship between channels in a stereo pair or a surround configuration.

For stereo pairs, the indications work in the following way:

• A vertical line indicates a perfect mono signal (the left and right channels are the same).

• A horizontal line indicates that the left channel is the same as the right, but with an inverse phase.

• A random but fairly round shape indicates a well balanced stereo signal. If the shape “leans” to the left, there is more energy in the left channel and vice versa (the extreme case of this is if one side is muted, in which case the Phase Meter will show a straight line, angled 90° to the other side).

• A perfect circle indicates a sine wave on one channel, and the same sine wave shifted by 90° on the other.

• Generally, the more you can see a “thread”, the more bass in the signal, and the more “spray-like” the display, the more high frequencies in the signal.

When the MultiScope is used with a surround channel in Scope mode, the pop-up menu to the right of the Scope button determines the result:

• If “Stereo (Front)” is selected, the display will indicate the phase and amplitude relationship between the front stereo channels.

• If “Surround” is selected, the display indicates the energy distribution in the surround field.

Frequency Spectrum Analyzer

• Click on the “Freq” button so that it lights up in yellow.

The MultiScope is now in Frequency Spectrum analyze mode, and will divide the frequency spectrum into separate vertical bands, which allows you to get a visual overview of the different frequencies’ relative amplitude. The frequency bands are shown left to right, starting with the lower frequencies.

• If the source signal is stereo you can now select either the Left or Right channel for viewing, or Stereo for both channels to be shown in the window. If it is a Mono signal, this won’t matter.

• If the MultiScope is used with a multi-channel track or output bus, you can select any speaker channel for viewing, or All Channels to view them all at once.

• Adjust the Amplitude knob to increase/decrease the vertical range of the bands.

The included effect plug-ins

• By adjusting the Frequency knob, you can divide the

frequency spectrum into 8, 15, or 31 bands, or you can select “Spectrum”, which shows a high resolution view.

• Use the Mode A and Mode B buttons to switch be-

tween different view modes.

Mode A is more graphically detailed, showing a solid, blue amplitude bar for each band. Mode B is less detailed, showing a continuous blue line that displays the peak levels for each band. These view modes don’t have any effect if you have selected “Spectrum” with the Frequency knob.

SMPTEGenerator (Cubase only)

This plug-in is not an effect device. It sends out SMPTE time code to an audio output, allowing you to synchronize other equipment to Cubase (provided that the equipment can sync directly to SMPTE time code). This can be very useful if you don’t have access to a MIDI-to-time code converter.

The following items and parameters are available:

• Still Button

Activate this to make the device generate SMPTE time code at the current cursor position in stop mode.

• Generate Button

Activate this to make the device generate SMPTE time code.

• Link Button

This synchronizes the time code output to the Transport time positions. When Link is activated, the time code output will exactly match the play position in Cubase. Activating the Generate button makes the device send the SMPTE time code in “free run” mode, meaning that it will output continuous time code, independently from the transport status in Cubase. If you wish to “stripe” a tape with SMPTE, you should use this mode.

• Start Time

This sets the time at which the SMPTE Generator starts, when activated in “free run” mode (Link button off). To change the Start time, click on a digit and move the mouse up or down.

• Current Time

When Link is on this shows the current position in Cubase. If Link is off it shows the current time of the SMPTE Generator in “free run” mode. This cannot be set manually.

• Framerate

This defaults to the frame rate set in the Project Setup dialog. If you wish to generate time code in another frame rate than the Project is currently set to (for example to stripe a tape), you can select another format on the Framerate pop-up (provided that “Link” is off). Note, however, that for the other device to synchronize correctly with Cubase, the framerate has to be the same in the Project Setup dialog, the SMPTE Generator and in the receiving device.

Example – Synchronizing a device to Cubase

Proceed as follows:

1. Connect the SMPTE Generator as an insert effect on an audio channel, and route the output of that channel to a separate output.

Make sure that no other insert or send effects are used on the time code channel. You should also disable EQ, if this is active.

2. Connect the corresponding output on the audio hardware to the time code input on the device you wish to synchronize to Cubase.

Make all necessary settings in the other device, so that it is set to synchronize to incoming timecode.

3. Adjust the level of the time code if needed, either in Cubase or in the receiving device.

Activate Generate button (make the device send the SMPTE time code in “free run” mode) to test the level.

4. Make sure that the frame rate in the receiving device matches the frame rate set in the SMPTE Generator.

5. Activate the Link button.

The SMPTE Generator will now output time code that matches the position of the Cubase Transport panel.

• Press Play on the Cubase Transport panel.

The other device is now synchronized and will follow any position changes set with the Cubase transport controls.

Drag offset for display

If you want to enter an offset, click with the mouse into the display and drag upwards or downwards to change the values. This enters a display offset - the current cursor position will not be affected. In Generate mode this offsets the Start Time, in Link mode it offsets the generated Timecode.

The included effect plug-ins

TestGenerator (Cubase only)

This utility allows you to generate an audio signal, which can be recorded as an audio file. The resulting file can then be used for a number of purposes:

• For testing the specifications of audio equipment.

• For measurements of various kinds, including calibrating tape recorders.

• For testing signal processing methods.

• For educational purposes.

The TestGenerator is based on a waveform generator which can generate a number of basic waveforms such as sine and saw and various types of noise. In addition, you can also set the frequency and amplitude of the generated signal.

As soon as you add the TestGenerator as an effect to an audio track and activate it, a signal is generated. You can then activate recording as usual to record an audio file according to the signal specifications:

Parameter Description

Waveforms By clicking these buttons, you select the basis for the

Frequency This controls the frequency of the generated signal, from

Gain This controls the amplitude of the signal. The higher the

signal generated by the waveform generator. You can select between four basic waveforms: Sine, Square, Sawtooth and Triangle, or three types of noise (white, brown and pink noise – from left to right).

1Hz to 20000 Hz.

value (up to 0dB) the stronger the signal.

The included effect plug-ins

The included VST Instruments

Introduction

This chapter contains descriptions of the included VST instruments and their parameters.

Ö Most of the included instruments are compatible with VST3, this is indicated by an icon in front of the name (for further information, see the section “About VST 3” in the chapter “Audio Effects” in the Operation Manual).

Prologue

Ö The signal flow of the Prologue synth is illustrated in the section “Diagrams” on page 73.

Sound parameters

Oscillator section

This section contains parameters affecting the 3 oscillators. These are located in upper half of the instrument panel.

Selecting Waveforms

Each oscillator has a number of waveforms which are selectable by clicking on the waveform name in the box located in each oscillator section.

Prologue is modelled on subtractive synthesis, the method used in classic analog synthesizers. It has the following basic features:

• Multimode filter

Variable slope lowpass and hipass, plus bandpass and notch filter modes – see “About the filter types” on page 46.

• Three oscillators, each with 4 standard waveforms plus

an assortment of specialized waveforms.

See “Selecting Waveforms” on page 42.

• Frequency modulation.

See “About frequency modulation” on page 45.

• Ring Modulation.

See “Ring modulation” on page 45.

• Built-in effects.

See “Effects (EFX) page” on page 51.

• Prologue receives MIDI in Omni mode (on all MIDI

channels).

You don’t need to select a MIDI channel to direct MIDI to the Prologue.

The included VST Instruments

Selecting waveforms.

The following waveforms are available:

Waveform Description

Sawtooth This waveform contains all harmonics and produces a

Parabolic This could be described as a “rounded” sawtooth wave-

Square Square waveforms only contain odd number harmonics,

bright and rich sound.

form, producing a softer timbre.

which produces a distinct, hollow sound.

Waveform Description

Triangle The Triangle waveform generates only a few harmonics,

Sine The sine wave is the simplest possible waveform, with no

Formant 1–12 Formant waveforms emphasizes certain frequency

Vocal 1–7 These are also formant waveforms, but specifically vocal-

Partial 1–7 Partials, also called harmonics or overtones, are a series

Reso Pulse 1–12

Slope 1–12 This waveform category begins with a complex waveform

Neg Slope 1–9 This category also begins with a complex waveform

spaced at odd harmonic numbers, which produces a slightly hollow sound.

harmonics (overtones). The sine wave produces a neutral, soft timbre.

bands. Like the human voice, musical instruments have a fixed set of formants, which give it a unique, recognizable tonal color or timbre, regardless of pitch.

oriented. Vowel sounds (A/E/I/O/U) are among the waveforms found in this category.

of tones which accompany the prime tone (fundamental). These waveforms could be described as producing intervals with two or more frequencies heard simultaneously with equal strength.

This waveform category begins with a complex waveform (Reso Pulse 1), that emphasizes the fundamental frequency (prime). For each consecutive waveform in this category, the next harmonic in the harmonic series is emphasized.

(Slope 1), with gradually decreasing harmonic complexity the higher the number selected. Slope 12 produces a sine wave (no harmonics).

(NegSlope 1), but with gradually decreasing low frequency content the higher the number selected.

• To hear the signal generated by the oscillator(s), the

corresponding Osc dial in the oscillator sections must be turned clockwise to a suitable value.

OSC 1 parameters

Oscillator 1 acts as a master oscillator. It determines the base pitch for all three oscillators. Oscillator 1 features the following parameters:

Parameter Value Description

Osc 1 0–100 This controls the output level of the oscil-

Coarse +/- 48

Fine +/- 50 cent Fine tunes the oscillator pitch in cent in-

Wave Mod +/- 50 This parameter dial is only active if the

Phase button On/Off When Phase synchronization is activated,

Tracking button

Wave Mod button

Waveform pop-up

semitones

On/Off When Tracking is activated, the oscillator

On/Off This switches wave modulation on or off.

See “Selecting

Waveforms” on page 42.

lator.

This determines the base pitch used by all oscillators.

crements (100th of a semitone). This also affects all oscillators.

Wave Mod button is activated beside the waveform selection box. Wave modulation works by adding a phase-shifted copy of the oscillator output to itself, which produces waveform variations. For example if a sawtooth waveform is used, activating WM will produce a pulse waveform. By modulating the WM parameter with for example a LFO, classic PWM (pulse width modulation) is produced. Wave modulation can, however, be applied to any waveform.

all oscillators will restart their waveform cycles with every note played. With Phase deactivated, the oscillators generate a waveform cycle continuously, which produces slight variations when playing as each note will start from a random phase in the cycle, adding warmth to the sound. But when synthesizing bass sounds or drum sounds, it is usually desired that the attack of every note played sounds the same, so for these purposes you should activate Phase sync. Phase sync also affects the noise generator.

pitch will track the notes played on the keyboard. If Tracking is deactivated the oscillator pitch remains constant, regardless of what note is played.

Sets the basic waveform for the oscillator.

The included VST Instruments

OSC 2 parameters

Oscillator 2 has the following parameters:

Parameter Value Description

Osc 2 0–100 This controls the output level of the oscil-

Coarse +/- 48

Fine +/- 50 cent Fine tunes the oscillator pitch in cent in-

Wave Mod +/- 50 This parameter dial is only active if the

Ratio 1–16 This parameter dial (which is only active if

Sync button On/Off When Sync is activated, Osc 2 is slaved

Tracking button

Freq Mod button

Wave Mod button

Waveform selector pop-up

semitones

On/Off When Tracking is activated, the oscillator

On/Off This switches frequency modulation on or

On/Off This switches wave modulation on or off.

See “Selecting

Waveforms” on page 42.

lator.

This determines the coarse pitch for Osc

2. If FM is enabled, this determines frequency ratio of the oscillator regarding Osc 1.

crements (100th of a semitone). If FM is enabled, this determines the frequency ratio of the oscillator regarding Osc 1.

the Freq Mod button is activated) adjusts the amount of frequency modulation applied to oscillator 2. See “About fre-

quency modulation” on page 45. Is

normally referred to as FM index.

to Osc 1. This means that every time Osc 1 completes it's cycle Osc 2 is forced to reset (start it's cycle from the beginning). This produces a characteristic sound, suitable for lead playing. Osc 1 determines the pitch, and varying the pitch of Osc 2 produces changes in timbre. For classic sync sounds, try modulating the pitch of Osc 2 with an envelope or a LFO. The Osc 2 pitch should also be set higher than the pitch of Osc 1.

pitch will track the notes played on the keyboard. If Tracking is deactivated the oscillator pitch remains constant, regardless of what note is played.

off.

Sets the basic waveform for the oscillator.

OSC 3 parameters

Oscillator 3 has the following parameters:

Parameter Value Description

Osc 3 0–100 This controls the output level of the oscil-

Coarse +/- 48

Fine +/- 50 cent Fine tunes the oscillator pitch in cent in-

Ratio 1–16 This parameter dial (which is only active if

Sync button On/Off When Sync is activated, Osc 3 is slaved

Tracking button

Freq Mod button

Wave Mod button

Waveform selector pop-up

semitones

On/Off When Tracking is activated, the oscillator

On/Off This switches frequency modulation on or

On/Off This switches wave modulation on or off.

See “Selecting

Waveforms” on page 42.

lator.

This determines the coarse pitch for Osc

3. If FM is enabled, this determines the frequency ratio of the oscillator regarding Osc 1/2.

crements (100th of a semitone). If FM is enabled, this determines the frequency ratio of the oscillator regarding Osc 1/2.

the Freq Mod button is activated) adjusts the amount of frequency modulation applied to oscillator 3. See “About fre-

quency modulation” on page 45. Is

normally referred to as FM index.

to Osc 1. This means that every time Osc 1 completes it's cycle, Osc 3 is forced to reset (start it's cycle from the beginning). This produces a characteristic sound, suitable for lead playing. Osc 1 determines the pitch, and varying the pitch of Osc 3 produces changes in timbre. For classic sync sounds, try modulating the pitch of Osc 3 with an envelope or a LFO. The Osc 3 pitch should also be set higher than the pitch of Osc 1.

pitch will track the notes played on the keyboard. If Tracking is deactivated the oscillator pitch remains constant, regardless of what note is played.

off.

Sets the basic waveform for the oscillator.

The included VST Instruments

About frequency modulation

Frequency modulation or FM means that the frequency of one oscillator (called the carrier) is modulated by the frequency of another oscillator (called the modulator).

• In Prologue, Osc 1 is the modulator, and Osc 2 and 3

are carriers.

Osc 2 could be said to be both carrier and modulator as if Freq Mod is applied to Osc 2 it is modulated by Osc 3. If Osc 2 also uses frequency modulation, Osc 3 will be modulated by both Osc 1 and Osc 2.

• The “pure” sound of frequency modulation is output

through the modulator oscillator(s).

This means that you should turn off the Osc 1 output when using frequency modulation.

• The Freq Mod button switches frequency modulation on

or off.

• The Ratio parameter determines the amount of frequency

modulation.

Portamento

This parameter makes the pitch glide between the notes you play. The parameter setting determines the time it takes for the pitch to glide from one note to the next. Turn the knob clockwise for longer glide time.

The “Mode” switch allows you to apply glide only when you play a legato note (when switch is set to Legato). Legato is when you play a note without releasing the previously played note. Note that Legato mode only works with monophonic Parts.

Ring modulation

Ring modulators multiply 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. In Prologue, Osc 1 is multiplied with Osc 2 to produce sum and difference frequencies. Ring modulation is often used to create bell-like sounds.

• To hear the ring modulation, you should turn down the output level for Osc 1 and 2, and turn up the “R.Mod” level all the way.

• If Osc 1 and 2 are tuned to the same frequency, and no modulation is applied to the Osc 2 pitch, nothing much will happen.

If you change the pitch of Osc 2, however, drastic changes in timbre can be heard. If the oscillators are tuned to a harmonic interval such as a fifth or octave, the ring modulated output will sound harmonic, other intervals will produce inharmonious, complex timbres.

• Oscillator Sync should be deactivated when using ring modulation.

Noise Generator

A noise generator generates noise (all frequencies at equal levels). Applications include simulating drum sounds and breath sounds for wind instruments.

• To hear only the sound of the noise generator, you should turn down the output level for the oscillators, and turn up the Noise parameter.

• The Noise generator level is routed to Envelope 1 by default.

See “Envelope page” on page 48 for a description of the Envelope generators.

The included VST Instruments

Filter section

The circle in the middle contains the filter parameters. The central dial sets the filter cut off parameter and the outer ring the filter type:

Parameter Description

Filter type Sets the filter type to either lowpass, highpass, bandpass

Cut off This dial controls the filter frequency or “cut off”. If a low-

Emphasis This is the resonance control for the filter. For lowpass

Drive This can be used to adjust the filter input level. Levels

Shift Internally, each filter consists of two or more “subfilters”

Tracking If this parameter is set to values over the 12 o’clock posi-

or notch. The filter types are described on “About the fil-

ter types” on page 46.

pass filter is used, it could be said to control the opening and closing of the filter, producing the classic “sweeping” synthesizer sound. How this parameter operates is governed by the filter type mode (see “About the filter

types” on page 46).

and highpass filters, raising the Emphasis value will emphasize the frequencies around the set cutoff frequency. This produces a generally thinner sound, but with a sharper, more pronounced cutoff sweep. The higher the filter Emphasis value, the more resonant the sound becomes until it starts to ring (self-oscillate), generating a distinct pitch. For Bandpass or Notch filters, the Emphasis setting adjusts the width of the band. When you raise the value, the band where frequencies are let through (Bandpass), or cut (Notch) will become narrower.

above 0 dB will gradually introduce a soft distortion of the input signal, and a decrease of the filter resonance.

connected in series. This parameter shifts the cutoff frequency of the subfilters. The result depends on the selected filter type: For Lowpass and Highpass filter types it changes the filter slope. For Bandpass and Notch filter types it changes the bandwidth. The Shift parameter has no effect if either the 12dB LP or 12 dB HP filter type is selected.

tion, the filter cutoff frequency will increase the further up on the keyboard you play. Negative values invert this relationship. If the Track parameter is set fully clockwise, the cutoff frequency will track the keyboard by a semitone per key.

About the filter types

You select which filter type to use using the buttons around the filter cut off knob. The following filter types are available (listed clockwise from 9 o’clock):

Type Description

12db LP This lowpass filter has a gentler slope (12dB/Octave

18dB LP This lowpass filter also has a cascade design, attenuating

24dB LP Lowpass filters lets low frequencies pass and cuts out

24dB LP II This lowpass filter has a cascade design which attenu-

12dB Band A bandpass filter cuts both high and low frequencies

12dB Notch A notch filter cuts off frequencies near the cutoff fre-

12dB HP This highpass filter has a 12dB/Octave slope, giving a

24dB HP A highpass filter is the opposite of a lowpass filter, cut-

above the cutoff frequency), leaving more of the harmonics in the filtered sound.

frequencies below the cutoff frequency with a 18 dB/Octave slope, as used in the classic TB 303 synth.

the high frequencies. This filter type attenuates frequencies above the cutoff frequency with a 24 dB/Octave slope, which produces a warm and fat sound.

ates frequencies below the cutoff frequency with a 24dB/Octave slope, which produces a warm and dark sound.

above and below the cutoff frequency with a 12 dB/Octave slope, producing a nasal and thin sound.

quency by 12dB/Octave, letting the frequencies below and above through. This produces a phaser-like sound.

bright and thin sound.

ting out the lower frequencies and letting the high frequencies pass. This filter has a 24dB/Octave slope, giving a bright and sharp sound.

Master Volume and Pan

The master Volume controls the master volume (amplitude) of the instrument. By default this parameter is controlled by Envelope 1, to generate an amplitude envelope for the oscillators.

The Pan dial controls the position in the stereo spectrum for the instrument. You can use Pan as a modulation destination.

The included VST Instruments

Modulation and controllers

The lower half of the control panel displays the various modulation and controller assignment pages available as well as the effect page. You switch between these pages using the buttons below the Filter section.

The two LFOs have identical parameters:

Parameter Description

Speed This governs the rate of the LFO. If MIDI Sync is activated

Depth This controls the amount of modulation applied by the

Waveform This sets the LFO waveform.

Sync mode (Part/MIDI/ Voice/Key)

(see below), the available rate values are selectable as note values, e.g. beat increments of the sequencer tempo in Cubase.

LFO. If set to zero, no modulation is applied.

This sets the sync mode for the LFO. See below for a description.

The following pages are available:

• The LFO page has two low frequency oscillators (LFOs)

for modulating parameters – see below.

• The Envelope page contains the four Envelope genera-

tors which can be assigned to control parameters – see

“The Envelope page.” on page 48.

• The Event page contains the common MIDI controllers

(Mod wheel, Aftertouch etc. and their assignments – see

“Event page” on page 50.

• The Effect page has three separate effect types avail-

able; Distortion, Delay and Modulation – see “Effects

(EFX) page” on page 51.

LFO page

This is opened by clicking the LFO button at the top of the lower half of the control panel. The page contains all parameters and the modulation and velocity destinations for two independent LFOs. Depending on the currently selected Preset, there may already be modulation destinations assigned, in which case these are listed in the “Mod Dest” box for each LFO – see “Assigning LFO modulation

destinations” on page 48. A low frequency oscillator

(LFO) is used for modulating parameters, for example the pitch of an oscillator (to produce vibrato), or for any parameter where cyclic modulation is desired.

About the sync modes

The Sync modes determine how the LFO cycle affects the notes you play:

Parameter Description

Part In this mode, the LFO cycle is free running and will affect

MIDI In this mode the LFO rate is synced in various beat incre-

Voice In this mode each voice in the Part has its own indepen-

Key Same as Voice except that it is not free running – for

all the voices in sync. “Free running” means that the LFO cycles continuously, and doesn’t reset when a note is played.

ments to MIDI clock.

dent LFO cycle (the LFO is polyphonic). These cycles are also free running – each key down starts anywhere in the LFO cycle phase.

each key down the LFO cycle starts over.

About the waveforms

Most standard LFO waveforms are available for LFO modulation. You use Sine and Triangle waveforms for smooth modulation cycles, Square and Ramp up/down for different types of stepped modulation cycles and Random or Sample for random modulation. The Sample waveform is different. In this mode, one LFO actually samples and holds the values of the other LFO at the chosen frequency.

The included VST Instruments

Assigning LFO modulation destinations

To assign a modulation destination for a LFO, proceed as follows:

1. Click in the “Mod Dest” box for one of the LFOs.

A pop-up appears with all possible modulation destinations are shown. All Sound parameters as well as most LFO and Envelope parameters are available as destinations.

Click here…

…to open the modulation destination pop-up.

The modulation destination pop-up.

2. Select a destination, e.g. Filter Cut Off.

The selected modulation destination is now shown in the list. Beside the destination, a default value (50) has been set. The value represents the modulation amount.

• You can set positive and negative modulation values by

clicking on the value in the list, typing in a new value and pressing the Enter key.

To enter negative values type a minus sign followed by the value.

3. Select a suitable LFO Waveform, Speed, Depth and

Sync mode.

You should now hear the filter cut off being modulated by the LFO.

4. Using the same basic method, you can add any num-

ber of modulation destinations for the LFO.

They will all be listed in the “Mod Dest” box.

• To remove a modulation destination click on its name in

the list and select “Off” from the pop-up.

2. Select a destination.

The selected velocity destination is now shown in the list. Beside the destination, a default value (50) has been set. The value represents the modulation amount. See below for an example of how velocity modulation works.

• You can set positive and negative values by clicking on the value in the list, typing in a new value and pressing the Enter key.

To enter negative values type a minus sign followed by the value.

3. Using the same basic method, you can add any number of velocity destinations for the LFO.

They will all be listed in the “Vel Dest” box.

• To remove a modulation destination click on its name in the list and select “Off” from the pop-up.

LFO modulation velocity control – an example:

If you follow the steps above and select the filter cut off parameter as a Velocity destination, the following happens:

• The harder you strike the key, the more the filter cut off parameter will be modulated by the LFO.

• If you should enter a negative value for the velocity modulation amount, the opposite happens; the harder you play, the less the filter cut off is modulated by the LFO.

Envelope page

The Envelope page is opened by clicking the ENV button at the top of the lower half of the control panel. The page contains all parameters and the modulation and velocity destinations for the four independent envelope generators.

Envelope generators govern how a parameter value will change when a key is pressed, when a key is held and finally when a key is released.

Assigning LFO velocity destinations

You can also assign LFO modulation that is velocity controlled (i.e. governed by how hard or soft you strike a key). This is done as follows:

1. Click in the “Vel Dest” box for one of the LFOs.

A pop-up appears with all possible velocity destinations are shown.

The included VST Instruments

The Envelope page.

On the Envelope page, the parameters for one of the four envelope generators is shown at a time.

• You switch between the four envelopes in the section to

the left.

Clicking on either of the four mini curve displays 1 to 4 will select it and display the corresponding envelope parameters to the right. The mini curve displays also reflect the envelope settings for each corresponding envelope.

• Envelope generators have four parameters; Attack,

Decay, Sustain and Release (ADSR).

See below for a description of these.

• You can set envelope parameters in two ways; either by

using the sliders or by click-dragging the curve in the Envelope curve display.

You can also do this in the mini curve displays.

• By default Envelope 1 is assigned to the master volume,

and therefore acts as an amplitude envelope. The amplitude envelope is used to adjust how the volume of the sound should change from the time you press a key until the key is released.

If no amplitude envelope were assigned, there would be no output.

The Envelope parameters are as follows:

Attack

The attack phase is the time it takes from zero to the maximum value. How long this should take, depends on the Attack setting. If the Attack is set to “0”, the maximum value is reached instantly. If this value is raised, it will take time before the maximum value is reached. Range is from

0.0 milliseconds to 91.1 seconds.

Decay

After the maximum value has been reached, the value starts to drop. How long this should take is governed by the Decay time parameter. The Decay time has no effect if the Sustain parameter is set to maximum. Range is from

0.0 milliseconds to 91.1 seconds.

Sustain

The Sustain parameter determines the level the envelope should rest at, after the Decay phase. Note that Sustain represents a level, whereas the other envelope parameters represent times. Range is from 0 to 100.

Release

Release determines the time it takes for the value to fall back to zero after releasing the key. Range is from 0.0 milliseconds to 91.1 seconds.

Punch

When Punch is activated, the start of the decay phase is delayed by a few milliseconds (i.e. the envelope remains at the top level for a moment before moving on to the decay phase). The result is a punchier attack similar to a compressor effect. This effect is more pronounced with short attack and decay times.

Retrigger

When Retrigger is activated, the envelope will re-trigger each time you play a new note. However, with certain textures/pad sounds and a limited number of voices it is recommended to leave the button deactivated, due to click noises that might occur, when the envelope is ended up abruptly. This is caused by the incoming re-trigger that forces the envelope to start over again.

Assigning Envelope modulation destinations

To assign a modulation destination for an Envelope, proceed as follows:

1. Click in the “Mod Dest” box for one of the Envelopes.

A pop-up appears with all possible modulation destinations are shown. All Sound parameters as well as most LFO and Envelope parameters are available as destinations.

2. Select a destination, e.g. Filter Cut Off.

The selected modulation destination is now shown in the list. Beside the destination, a default value (50) has been set. The value represents the modulation amount.

• You can set positive and negative modulation values by clicking on the value in the list, typing in a new value and pressing the Enter key.

To enter negative values type a minus sign followed by the value.

3. Select a suitable envelope curve for the modulation.

You should now hear the filter cut off being modulated by the envelope as you play.

4. Using the same basic method, you can add any number of modulation destinations for the envelope.

They will all be listed in the “Mod Dest” box.

• To remove a modulation destination click on its name in the list and select “Off” from the pop-up.

The included VST Instruments

Assigning Envelope velocity destinations

You can also assign Envelope modulation that is velocity controlled (i.e. governed by how hard or soft you strike a key). This is done as follows:

1. Click in the “Vel Dest” box for one of the envelopes.

A pop-up appears with all possible velocity destinations are shown.

2. Select a destination.

• You can set positive and negative values by clicking on

the value in the list, typing in a new value and pressing the Enter key.

To enter negative values type a minus sign followed by the value.

3. Using the same basic method, you can add any num-

ber of velocity destinations for the Envelope.

They will all be listed in the “Vel Dest” box.

• To remove a modulation destination click on its name in

the list and select “Off” from the pop-up.

Envelope modulation velocity control – an example:

If you follow the steps above and select the filter cut off parameter as a Velocity destination, the following happens:

• The harder you strike the key, the more the filter cut-off

parameter will be modulated by the Envelope.

• If you should enter a negative value for the velocity mod-

ulation amount, the opposite happens; the harder you play the less the filter cut off is modulated by the Envelope.

Event page

The Event page is opened by clicking the EVENT button at the top of the lower half of the control panel. This page contains the most common MIDI controllers and their respective assignments.

The following controllers are available:

Controller Description

Modulation Wheel

Velocity Velocity is used to control parameters according to how

Aftertouch Aftertouch, or channel pressure, is MIDI data sent when

Key Pitch Tracking

The modulation wheel on your keyboard can be used to modulate parameters.

hard or soft you play notes on your keyboard. A common application of velocity is to make sounds brighter and louder if you strike the key harder.

pressure is applied to a keyboard after the key has been struck, and while it is being held down or sustained. Aftertouch is often routed to control filter cutoff, volume, and other parameters to add expression. Most (but not all) MIDI keyboards send Aftertouch.

This can change parameter values linearly according to where on the keyboard you play.

To assign any of these controllers to one or several parameters, proceed as follows:

1. Click in the “Mod Dest” box for one of the controllers.

A pop-up appears with all possible modulation destinations are shown. All Sound parameters as well as most LFO and Envelope parameters are available as destinations.

2. Select a destination.

The selected modulation destination is now shown in the list. Beside the destination, a default value (50) has been set. The value represents the modulation amount when the controller is at its full range.

• You can set positive and negative modulation values by clicking on the value in the list, typing in a new value and pressing the Enter key.

To enter negative values type a minus sign followed by the value.

3. Using the same basic method, you can add any number of modulation destinations for the controllers.

They will all be listed in the “Mod Dest” box for the respective controller.

• To remove a modulation destination click on its name in the list and select “Off” from the pop-up.

The Event page.

The included VST Instruments

Effects (EFX) page

This page features three separate effect units: Distortion, Delay and Modulation (Phaser/Flanger/Chorus). The Effect page is opened by clicking the EFX button at the top of the lower half of the control panel.

The Effects page.

• Each separate effect section is laid out with a row of

buttons that determine the effect type or characteristic and a row of sliders for making parameter settings.

• To activate an effect, click the “Active” button so that a

dot appears.

Clicking again deactivates the effect.

Distortion

You can select between 4 basic distortion characteristics:

• Distortion provides hard clipping distortion.

• Soft Distortion provides soft clipping distortion.

• Tape Emulation produces distortion similar to magnetic tape saturation.

• Tube Emulation produces distortion similar to valve amplifiers.

The parameters are as follows:

Parameter Description

Filter This parameter sets the crossover frequency of the dis-

Tone This parameter controls the relative amount of lowpass

Drive Amplifies the input signal to set the amount of distortion.

Level This controls the output level of the effect.

Delay

You can select between 3 basic delay characteristics:

• Stereo Delay has two separate delay lines panned left and right.

• In Mono Delay the two delay lines are connected in series for monophonic dual tap delay effects.

• In Cross delay the delayed sound bounces between the stereo channels.

tortion filter. The distortion filter consists of a lowpass filter and a highpass filter with a cutoff frequency equal to the crossover frequency.

and high-pass filtered signal.

The parameters are as follows:

Parameter Description

Song Sync This switches tempo sync of the delay times on or off.

Delay 1 Sets the delay time ranging from 0ms to 728 ms. If MIDI

Delay 2 Same as Delay 1.

Feedback This controls the decay of the delays. With higher set-

Filter A lowpass filter is built into the feedback loop of the de-

Level This controls the output level of the effect.

sync is activated the range is from 1/32 to 1/1; straight, triplet or dotted.

tings the echoes repeat longer.

lay. This parameter controls the cutoff frequency of this feedback filter. Low settings result in successive echoes sounding darker.

Modulation

You can select between 3 basic modulation characteristics:

• The Phaser uses an 8-pole allpass filter to produce the classic phasing effect.

• The Flanger is composed of two independent delay lines with feedback for the left and the right channel respectively. The delay time of both delays is modulated by one LFO with adjustable frequency.

• Chorus produces a rich chorus effect with 4 delays modulated by four independent LFOs.

The parameters are as follows:

Parameter Description

Song Sync This switches tempo sync of the Rate parameter on or

Rate Sets the rate of the LFOs modulating the delay time. If

Depth This parameter controls the depth of the delay time mod-

Delay This parameter sets the delay time of the four delay lines.

Feedback The feedback parameter controls the amount of positive

Level This controls the output level of the effect.

off.

Song Sync is activated the rate will be synced to various beat increments.

ulation.

or negative feedback for all four delay lines. The adjustable range is from -1 to 1.

SR parameters

With these buttons you can change the sample rate. Lower sample rates basically reduces the high frequency content and sound quality, but the pitch isn’t altered. This is a great way to emulate the “lo-fi” sounds of older digital synths!

The included VST Instruments

• If button “F” is active, the selected Part’s program will play back with the sample rate set in the host application.

• If button “1/2” is active, the selected Part’s program will play back with half the original sample rate.

• If button “1/4” is active, the selected Part’s program will play back with a quarter of the original sample rate.

• A bonus effect of using lower sample rates is that it re-

duces the load on the computer CPU, allowing more simultaneous voices to be played etc.

Spector (Cubase only)

• The Cut 1 & 2 parameters allow you to shift the frequency range of the spectrum filter.

This makes it easy to create unique-sounding filter sweeps.

• Finally, a Morph control lets you mix the output of spectrum filters A and B.

Since this can be controlled with envelopes, LFOs etc. you can create morphing effects.

• You also have controllers and modulation parameters (two LFOs, four envelopes and three effects). See “Modu-

lation and controllers” on page 54.

Ö The signal flow of the Spector synth is illustrated in the section “Diagrams” on page 73.

Sound parameters

Oscillator section

The synthesis in this synthesizer is based around a “spectrum filter”, which allows you to specify the frequency response by drawing a filter contour in the spectrum display. Slightly simplified, the signal path is the following:

• The starting point is the sound generated by up to 6 os-

cillators.

You can choose between different numbers of oscillators in different configurations (in octaves, in unison, etc.). The oscillators can also be detuned for fat sounds or extreme special effects.

• Each oscillator produces two basic waveforms, labelled

A and B.

You can choose between six different waveforms, independently selected for A and B.

• The two waveforms pass through separate spectrum

filters (A and B).

You can draw different spectrum contours for the two filters, or select a contour from the included presets.

The included VST Instruments

A/B waveform pop-ups

This is where you select basic waveforms for the A and B output of the oscillators. The options are especially suited for use with the spectrum filter.

Coarse and Fine

These parameters provide overall transposition and tuning of the oscillators (common for all oscillators, A and B waveforms).

Oscillator pop-up

This pop-up menu is opened by clicking on the text below the centrally placed section (which illustrates the currently selected oscillator configuration).

Click here to open the Oscillator pop-up.

The pop-up has the following oscillator configurations to choose between:

Option Description

6 Osc 6 oscillators with the same pitch.

6 Osc 1:2 3 oscillators with base pitch and 3 pitched one octave down.

6 Osc 1:2:3 Three groups of two oscillators with the pitch ratio 1:2:3 (2

6 Osc 1:2:3:4:5:6

4 Osc 1:2 2 oscillators with base pitch and 2 pitched one octave down.

3 Osc 3 oscillators with the same pitch.

2 Osc 2 oscillators with the same pitch.

2 Osc 1:2 One oscillator with base pitch and one pitched one octave

1 Osc A single oscillator. In this mode, the Detune and Cut II pa-

oscillators with base pitch, 2 oscillators at half the frequency of the base pitch and 2 oscillators at a third of the frequency).

6 oscillators tuned with the pitch ratio 1:2:3:4:5:6 (known as the “subharmonic series”).

down.

rameters are not active.

Detune

Detunes the oscillators (in all oscillator modes except “1Osc”). Low values will give gentle chorus-like detuning; raising the control will detune the oscillators by several semitones for clangorous special effects.

Raster

This parameter reduces the number of harmonics present in the oscillator waveforms in the following manner:

Setting Description

0 All harmonics present.

1 Only every second harmonic present.

2 Only every third harmonic present.

... ...and so on.

Portamento

Spectrum filter section

This is where you create the contours (frequency response characteristics) for the two 128 pole resonant spectrum filters “A” and “B”.

• You can use the Preset pop-up menu to select a preset contour if you like.

• To change the contour, click and “draw” with the mouse.

Once you change the selected contour, it will be labeled as “Custom” in the Preset field above the display, indicating that you’re no longer using one of the presets.

The included VST Instruments

• If you want to random calculate a spectrum filter curve,

you can choose the Randomize function from the Preset pop-up.

Each time you choose this function, a new randomized spectrum will appear.

Cut I and II

These work much like cutoff frequency controls on a conventional filter: With the Cut controls at the maximum setting, the full frequency range will be used for the spectrum filter; lowering the Cut controls will gradually move the entire contour down in frequency, “closing” the filter. Note:

• If a 2 oscillator configuration is used, you can set differ-

ent “cutoffs” for the two oscillators with Cut I and Cut II, respectively. Similarly, if more than two oscillators are used, they are internally divided in two groups, for which you can set independent “cutoffs” with Cut I and II.

For example, in the “6 Osc” modes Cut I affects the sound of oscillators 1, 3 and 5 while Cut II affects the sound of oscillators 2, 4 and 6. In the “1 Osc” mode, the Cut II control is not used.

• If the Spectrum Sync (link symbol) button between the

Cut controls is activated, the two knobs are synced and will follow each other and be set to the same value.

Morph

This controls the mix between the sound of spectrum filters A and B. When the Morph knob is turned fully left, only the “A” sound will be heard; when it’s turned right only the “B” sound will be heard. This allows you to seamlessly morph (manually or using an LFO or an envelope) between two totally different sounds.

Master Volume and Pan

The master Volume controls the master volume (amplitude) of the instrument. By default this parameter is controlled by Envelope 1, to generate an amplitude envelope for the oscillators.

The Pan dial controls the position in the stereo spectrum for the instrument. You can use Pan as a modulation destination.

Modulation and controllers

The following pages are available:

• The LFO page has two low frequency oscillators (LFOs) for modulating parameters – see below.

• The Envelope page contains the four Envelope generators which can be assigned to control parameters – see

“Envelope page” on page 56.

• The Event page contains the common MIDI controllers (Mod wheel, Aftertouch etc. and their assignments – see

“The Event page.” on page 58.

• The Effect page has three separate effect types available; Distortion, Delay and Modulation – see “Effects

(EFX) page” on page 58.

LFO page

destinations” on page 55. A low frequency oscillator

(LFO) is used for modulating parameters, for example the pitch of an oscillator (to produce vibrato), or for any parameter where cyclic modulation is desired.

The two LFOs have identical parameters:

Parameter Description

Speed This governs the rate of the LFO. If MIDI Sync is activated

Depth This controls the amount of modulation applied by the

Waveform This sets the LFO waveform.

Sync mode This sets the sync mode for the LFO (see below).

(see below), the available rate values are selectable as note values, so the rate will synced to the sequencer tempo in Cubase in various beat increments.

LFO. If set to zero, no modulation is applied.

The included VST Instruments

About the sync modes

The Sync modes determine how the LFO cycle affects the notes you play:

Parameter Description

Part In this mode, the LFO cycle is free running and will affect

MIDI In this mode the LFO rate is synced in various beat incre-

Voice In this mode each voice in the Part has its own indepen-

Key Same as Voice except that it is not free running – for

all the voices in sync. “Free running” means that the LFO cycles continuously and isn’t reset when a note is played.

ments to MIDI clock.

dent LFO cycle (the LFO is polyphonic). These cycles are also free running – each key down starts anywhere in the LFO cycle phase.

each key down the LFO cycle starts over.

About the waveforms

• In this mode, the LFO actually makes use of the other

LFO as well.

For example, if LFO 2 is set to use Sample the resulting effect will also depend on the speed and waveform of LFO 1.

Assigning LFO modulation destinations

To assign a modulation destination for a LFO, proceed as follows:

1. Click in the “Mod Dest” box for one of the LFOs.

A pop-up appears with all possible modulation destinations are shown. All Sound parameters as well as most LFO and Envelope parameters are available as destinations.

The modulation destination pop-up.

2. Select a destination, e.g. Cut.

The selected modulation destination is now shown in the list. Beside the destination, a default value (50) has been set. The value represents the modulation amount.

• You can set positive and negative modulation values by clicking on the value in the list, typing in a new value and pressing the Enter key.

To enter negative values type a minus sign followed by the value.

3. Select a suitable LFO Waveform, Speed, Depth and Sync mode.

You should now hear the Cut parameter being modulated by the LFO.

4. Using the same basic method, you can add any number of modulation destinations for the LFO.

They will all be listed in the “Mod Dest” box.

• To remove a modulation destination click on its name in the list and select “Off” from the pop-up.

The included VST Instruments

Assigning LFO velocity destinations

You can also assign LFO modulation that is velocity controlled (i.e. governed by how hard or soft you strike a key). This is done as follows:

1. Click in the “Vel Dest” box for one of the LFOs.

A pop-up appears with all possible velocity destinations are shown.

2. Select a destination.

• You can set positive and negative values by clicking on

the value in the list, typing in a new value and pressing the Enter key.

To enter negative values type a minus sign followed by the value.

3. Using the same basic method, you can add any num-

ber of velocity destinations for the LFO.

They will all be listed in the “Vel Dest” box.

• To remove a modulation destination click on its name in

the list and select “Off” from the pop-up.

LFO modulation velocity control – an example:

If you follow the steps above and select the Cut parameter as a Velocity destination, the following happens:

• The harder you strike the key, the more the Cut parame-

ter will be modulated by the LFO.

• If you should enter a negative value for the velocity mod-

ulation amount, the opposite happens; the harder you play the less the Cut parameter is modulated by the LFO.

Envelope page

Envelope generators govern how a parameter value will change when a key is pressed, when a key is held and finally when a key is released.

The Envelope page.

On the Envelope page, the parameters for one of the four envelope generators is shown at a time.

• You switch between the four envelopes in the section to the left.

• Envelope generators have four parameters; Attack, Decay, Sustain and Release (ADSR).

See below for a description of these.

• You can set envelope parameters in two ways; either by using the sliders or by click-dragging the curve in the Envelope curve display.

You can also do this in the mini curve displays.

• By default Envelope 1 is assigned to the master volume, and therefore acts as an amplitude envelope. The amplitude envelope is used to adjust how the volume of the sound should change from the time you press a key until the key is released.

If no amplitude envelope were assigned, there would be no output.

The included VST Instruments

The Envelope parameters are as follows:

Attack

0.0 milliseconds to 91.1 seconds.

Decay

0.0 milliseconds to 91.1 seconds.

Sustain

Release

Release determines the time it takes for the value to fall back to zero after releasing the key. Range is from 0.0 milliseconds to 91.1 seconds.

Punch

When Punch is activated, the start of the decay phase is delayed a few milliseconds (the envelope “stays” at top level for a moment before moving on to the decay phase). The result is a punchier attack similar to a compressor effect. This effect is more pronounced with short attack and decay times.

Retrigger

Assigning Envelope modulation destinations

To assign a modulation destination for an Envelope, proceed as follows:

1. Click in the “Mod Dest” box for one of the Envelopes.

A pop-up appears with all possible modulation destinations are shown. All Sound parameters as well as most LFO and Envelope parameters are available as destinations.

2. Select a destination, e.g. Cut.

The selected modulation destination is now shown in the list. Beside the destination, a default value (50) has been set. The value represents the modulation amount.

• You can set positive and negative modulation values by clicking on the value in the list, typing in a new value and pressing the Enter key.

To enter negative values type a minus sign followed by the value.

3. Select a suitable envelope curve for the modulation.

You should now hear the Cut parameter being modulated by the envelope as you play.

4. Using the same basic method, you can add any number of modulation destinations for the envelope.

They will all be listed in the “Mod Dest” box.

• To remove a modulation destination click on its name in the list and select “Off” from the pop-up.

Assigning Envelope velocity destinations

You can also assign Envelope modulation that is velocity controlled (i.e. governed by how hard or soft you strike a key). This is done as follows:

1. Click in the “Vel Dest” box for one of the envelopes.

A pop-up appears with all possible velocity destinations are shown.

2. Select a destination.

• You can set positive and negative values by clicking on the value in the list, typing in a new value and pressing the Enter key.

To enter negative values type a minus sign followed by the value.

3. Using the same basic method, you can add any number of velocity destinations for the Envelope.

They will all be listed in the “Vel Dest” box.

The included VST Instruments

• To remove a modulation destination click on its name in

the list and select “Off” from the pop-up.

Envelope modulation velocity control – an example:

If you follow the steps above and select the Cut parameter as a Velocity destination, the following happens:

• The harder you strike the key, the more the parameter

will be modulated by the Envelope.

• If you should enter a negative value for the velocity mod-

ulation amount, the opposite happens; the harder you play, the less the Cut parameter will be modulated by the Envelope.

Event page

The Event page is opened by clicking the EVENT button at the top of the lower half of the control panel. This page contains the most common MIDI controllers and their respective assignments.

The Event page.

The following controllers are available:

Controller Description

Modulation Wheel

Velocity Velocity is used to control parameters according to how

Aftertouch Aftertouch, or channel pressure, is MIDI data sent when

Key Pitch Tracking

To assign any of these controllers to one or several parameters, proceed as follows:

1. Click in the “Mod Dest” box for one of the controllers.

A pop-up appears with all possible modulation destinations are shown. All Sound parameters as well as most LFO and Envelope parameters are available as destinations.

The modulation wheel on your keyboard can be used to modulate parameters.

hard or soft you play notes on your keyboard. A common application of velocity is to make sounds brighter and louder if you strike the key harder.

This can change parameter values linearly according to where on the keyboard you play.

2. Select a destination.

• You can set positive and negative modulation values by clicking on the value in the list, typing in a new value and pressing the Enter key.

To enter negative values type a minus sign followed by the value.

3. Using the same basic method, you can add any number of modulation destinations for the controllers.

They will all be listed in the “Mod Dest” box for the respective controller.

• To remove a modulation destination click on its name in the list and select “Off” from the pop-up.

Effects (EFX) page

• Each separate effect section is laid out with a row of buttons that determine the effect type or characteristic and a row of sliders for making parameter settings.

• To activate an effect, click the “Active” button so that a dot appears.

Clicking again deactivates the effect.

Distortion

You can select between 4 basic distortion characteristics:

• Distortion provides hard clipping distortion.

• Soft Distortion provides soft clipping distortion.

• Tape Emulation produces distortion similar to magnetic tape saturation.

• Tube Emulation produces distortion similar to valve amplifiers.

The parameters are as follows:

Parameter Description

Filter This parameter sets the crossover frequency of the dis-

Tone This parameter controls the relative amount of lowpass

Drive Sets the amount of distortion by amplifying the input sig-

Level This controls the output level of the effect.

tortion filter. The distortion filter consists of a lowpass filter and a highpass filter with a cutoff frequency equal to the crossover frequency.

and high-pass filtered signal.

nal.

The included VST Instruments

Delay

You can select between 3 basic delay characteristics:

• Stereo Delay has two separate delay lines panned left and right.

• In Mono Delay the two delay lines are connected in series for monophonic dual tap delay effects.

• In Cross delay the delayed sound bounces between the stereo channels.

The parameters are as follows:

Parameter Description

Song Sync This switches tempo sync of the delay times on or off.

Delay 1 Sets the delay time ranging from 0ms to 728ms. If MIDI

Delay 2 Same as Delay 1.

Feedback This controls the decay of the delays. With higher set-

Filter A lowpass filter is built into the feedback loop of the de-

Level This controls the output level of the effect.

sync is activated the range is from 1/32 to 1/1; straight, triplet or dotted.

tings the echoes repeat longer.

lay. This parameter controls the cutoff frequency of this feedback filter. Low settings result in successive echoes sounding darker.

Modulation

You can select between 3 modulation characteristics:

• The Phaser uses an 8-pole allpass filter to produce the classic phasing effect.

• Chorus produces a rich chorus effect with 4 delays modulated by four independent LFOs.

The parameters are as follows:

Parameter Description

Song Sync This switches tempo sync of the Rate parameter on or

Rate Sets the rate of the LFOs modulating the delay time. If

Depth This parameter controls the depth of the delay time mod-

Delay This parameter sets the delay time of the four delay lines.

off.

Song Sync is activated the rate will be synced to various beat increments.

ulation.

Parameter Description

Feedback The feedback parameter controls the amount of positive

Level This controls the output level of the effect.

or negative feedback for all four delay lines. The adjustable range is from -1 to 1.

SR parameters

• If button “F” is active, the selected Part’s program will play back with the sample rate set in the host application.

• If button “1/2” is active, the selected Part’s program will play back with half the original sample rate.

• If button “1/4” is active, the selected Part’s program will play back with a quarter of the original sample rate.

• A bonus effect of using lower sample rates is that it re-

duces the load on the computer CPU, allowing more simultaneous voices to be played etc.

The included VST Instruments

Mystic (Cubase only)

The synthesis method used by Mystic is based on three parallel comb filters with feedback. A comb filter is a filter with a number of “notches” in its frequency response, with the notch frequencies harmonically related to the frequency of the fundamental (lowest) notch.

A typical example of comb filtering occurs if you are using a flanger effect or a delay effect with very short delay time. As you probably know, raising the feedback (the amount of signal sent back into the delay or flanger) will cause a resonating tone – this tone is basically what the Mystic produces. As you will see, this astonishingly simple synthesis method is capable of generating a wide range of sounds, from gentle plucked-string tones to weird, nonharmonic timbres.

The basic principle is the following:

• You start with an “impulse sound”, typically with a very short decay.

The spectrum of the impulse sound will largely affect the tonal quality of the final sound. To set up an impulse sound on the Mystic you use a slightly simplified version of the synthesis found on the Spector synth.

• The impulse sound is fed into the three comb filters, in parallel. Each of these has a feedback loop.

This means the output of each comb filter is fed back into the filter. This will result in a resonating feedback tone.

• When the signal is fed back into the comb filter, it goes

via a separate, variable lowpass filter.

This filter corresponds to the damping of high frequencies in a physical instrument – when set to a low cutoff frequency it will cause high harmonics to decay faster than the lower harmonics (as when plucking a string on a guitar, for example).

• The level of the feedback signal is governed by a feed-

back control.

This determines the decay of the feedback tone. Setting this to a negative value will simulate the traveling wave in a tube with one open end and one closed end. The result is a more hollow, square wave-like sound, pitched one octave lower.

• A detune control offsets the fundamental frequencies of

the three comb filters, for chorus-like sounds or drastic special effects.

Finally you have access to the common synth parameters – two LFOs, four envelopes and an effect section.

• By default, envelope 2 controls the level of the impulse

sound – this is where you set up the short impulse decay when emulating string sounds etc.

Ö The signal flow of the Mystic synth is illustrated in the section “Diagrams” on page 73.

Sound parameters

The Impulse Control section

This is where you set up the impulse sound – the sound fed into the comb filters, serving as a starting point for the sound. The Impulse Control has two basic waveforms that are filtered through separate spectrum filters with adjustable base frequency; the output is an adjustable mix between the two waveform/spectrum filter signals.

The included VST Instruments

Spectrum displays

Allows you to draw a filter contour with your mouse for spectrum filters A & B.

• To set up the contour, click in one of the displays and drag the mouse to draw the desired curve. Note that this will produce the inverse contour in the other display, for maximum sonic versatility.

To set up the contour independently for the two filters, hold down [Shift] and click and drag the mouse in either display.

• Use the Preset pop-up menu to select a preset contour if you like.

• If you want to random calculate a spectrum filter curve, you can choose the Randomize function from the Preset pop-up.

Each time you choose this function, a new randomized spectrum will appear.

Waveform pop-up

The pop-up at the bottom of the waveform section (the central box at the top of the panel) allows you to select a basic waveform to be sent through filter contour A. The options are especially suited for use with the spectrum filter.

Cut

This offsets the frequency of the filter contour, working somewhat like a cutoff control on a standard synth filter. To use the filter contour in its full frequency range, set Cut to its maximum value.

Morph

Adjusts the mix between the two signal paths: waveform A spectrum contour A and waveform B spectrum contour B.

Coarse

This offsets the pitch for the impulse sound. In a typical “string setup”, when the impulse sound is very short, this will not change the pitch of the final sound, but the tonal color.

Raster

This removes harmonics from the impulse sound. As the harmonic content of the impulse sound is reflected in the comb filter sound, this will change the final timbre.

Comb filter sound parameters

Damping

This is a 6dB/oct lowpass filter that affects the sound being fed back into the comb filters. This means the sound will become gradually softer when decaying, i.e. high harmonics to decay faster than the lower harmonics (as when plucking a string on a guitar, for example).

• The lower the Damping, the more pronounced this ef-

fect.

If you open the filter completely (turn Damping up to max) the harmonic content will be static – i.e. the sound will not get softer when decaying.

Level

This determines the level of the impulse sound being fed into the comb filters. By default, this parameter is modulated by envelope 2. That is, you use envelope 2 as a level envelope for the impulse sound.

• For a string-type sound, you want an envelope with a

quick attack, a very short decay and no sustain (an “impulse” in other words), but you can also use other envelopes for other types of sounds.

Try raising the attack for example, or raising the sustain to allow the impulse sound to be heard together with the comb filter sound.

The included VST Instruments

Crackle

This allows you to send noise directly into the comb filters. Small amounts of noise will produce a “crackling”, erratic effect; higher amounts will give a more pronounced noise sound.

Feedback

This determines the amount of signal sent back into the comb filters (the feedback level).

• Setting Feedback to zero (twelve o’clock) will effectively turn off the comb filter sound, as no feedback tone is produced.

• Setting Feedback to a positive value will create a feedback tone, with higher settings generating longer decays.

• Setting Feedback to a negative value will create a feedback tone with a more hollow sound, pitched one octave lower. Lower settings generate longer decays.

Detune

This offsets the notch frequencies of the three parallel comb filters, effectively changing the pitches of their feedback tones. At low settings, this creates a chorus-like detune effect. Higher settings detunes the three tones in wider intervals.

Pitch and Fine

Overall pitch adjustment of the final sound. This changes the pitch of both the impulse sound and the final comb filter sound.

Key Tracking

This button determines whether the impulse sound should track the keyboard or not. This will affect the sound of the comb filters in a way similar to a key track switch on a regular subtractive synth filter.

Portamento

Master Volume and Pan

The master Volume controls the master volume (amplitude) of the instrument. By default this parameter is controlled by Envelope 1, to generate an amplitude envelope for the oscillators.

The Pan dial controls the position in the stereo spectrum for the instrument. You can use Pan as a modulation destination.

Modulation and controllers

The following pages are available:

• The LFO page has two low frequency oscillators (LFOs) for modulating parameters – see below.

• The Envelope page contains the four Envelope generators which can be assigned to control parameters – see

“Envelope page” on page 64.

• The Event page contains the common MIDI controllers (Mod wheel, Aftertouch etc. and their assignments – see

“The Event page.” on page 65.

• The Effect page has three separate effect types available; Distortion, Delay and Modulation – see “Effects

(EFX) page” on page 66.

LFO page

destinations” on page 63.

The included VST Instruments

A low frequency oscillator (LFO) is used for modulating parameters, for example the pitch of an oscillator (to produce vibrato), or for any parameter where cyclic modulation is desired.

The two LFOs have identical parameters:

Parameter Description

Speed This governs the rate of the LFO. If MIDI Sync is activated

Depth This controls the amount of modulation applied by the

Waveform This sets the LFO waveform.

Sync mode (Part/MIDI/ Voice/Key)

(see below), the available rate values are selectable as note values, so the rate will synced to the sequencer tempo in Cubase in various beat increments.

LFO. If set to zero, no modulation is applied.

This sets the sync mode for the LFO. See below for a description.

About the sync modes

The Sync modes determine how the LFO cycle affects the notes you play:

Parameter Description

Part In this mode, the LFO cycle is free running and will affect

MIDI In this mode the LFO rate is synced in various beat incre-

Voice In this mode each voice in the Part has its own indepen-

Key Same as Voice except that it is not free running – for

all the voices in sync. “Free running” means that the LFO cycles continuously, and doesn’t reset when a note is played.

ments to MIDI clock.

dent LFO cycle (the LFO is polyphonic). These cycles are also free running – each key down starts anywhere in the LFO cycle phase.

each key down the LFO cycle starts over.

About the waveforms

• In this mode, the LFO actually makes use of the other

LFO as well.

For example, if LFO 2 is set to use Sample the resulting effect will also depend on the speed and waveform of LFO 1.

Assigning LFO modulation destinations

To assign a modulation destination for a LFO, proceed as follows:

1. Click in the “Mod Dest” box for one of the LFOs.

A pop-up appears with all possible modulation destinations are shown. All Sound parameters as well as most LFO and Envelope parameters are available as destinations.

The modulation destination pop-up.

2. Select a destination, e.g. Cut.

The selected modulation destination is now shown in the list. Beside the destination, a default value (50) has been set. The value represents the modulation amount.

• You can set positive and negative modulation values by clicking on the value in the list, typing in a new value and pressing the Enter key.

To enter negative values type a minus sign followed by the value.

3. Select a suitable LFO Waveform, Speed, Depth and Sync mode.

You should now hear the Cut parameter being modulated by the LFO.

4. Using the same basic method, you can add any number of modulation destinations for the LFO.

They will all be listed in the “Mod Dest” box.

• To remove a modulation destination click on its name in the list and select “Off” from the pop-up.

The included VST Instruments

Assigning LFO velocity destinations

You can also assign LFO modulation that is velocity controlled (i.e. governed by how hard or soft you strike a key). This is done as follows:

1. Click in the “Vel Dest” box for one of the LFOs.

A pop-up appears with all possible velocity destinations are shown.

2. Select a destination.

• You can set positive and negative values by clicking on

the value in the list, typing in a new value and pressing the Enter key.

To enter negative values type a minus sign followed by the value.

3. Using the same basic method, you can add any num-

ber of velocity destinations for the LFO.

They will all be listed in the “Vel Dest” box.

• To remove a modulation destination click on its name in

the list and select “Off” from the pop-up.

LFO modulation velocity control – an example:

If you follow the steps above and select the Cut parameter as a Velocity destination, the following happens:

• The harder you strike the key, the more the Cut parame-

ter will be modulated by the LFO.

• If you should enter a negative value for the velocity mod-

ulation amount, the opposite happens; the harder you play the less the Cut parameter is modulated by the LFO.

Envelope page

Envelope generators govern how a parameter value will change when a key is pressed, when a key is held and finally when a key is released.

The Envelope page.

On the Envelope page, the parameters for one of the four envelope generators is shown at a time.

• You switch between the four envelopes in the section to the left.

• Envelope generators have four parameters; Attack, Decay, Sustain and Release (ADSR).

See below for a description of these.

• You can set envelope parameters in two ways; either by using the sliders or by click-dragging the curve in the Envelope curve display.

You can also do this in the mini curve displays.

If no amplitude envelope were assigned, there would be no output.

• Envelope 2 is by default assigned to the Level parameter.

See “Level” on page 61.

The Envelope parameters are as follows:

Attack

0.0 milliseconds to 91.1 seconds.

Decay

0.0 milliseconds to 91.1 seconds.

Sustain

The included VST Instruments

Release

Release determines the time it takes for the value to fall back to zero after releasing the key. Range is from 0.0 milliseconds to 91.1 seconds.

Punch

Retrigger

Assigning Envelope modulation destinations

To assign a modulation destination for an Envelope, proceed as follows:

1. Click in the “Mod Dest” box for one of the Envelopes.

A pop-up appears with all possible modulation destinations are shown. All Sound parameters as well as most LFO and Envelope parameters are available as destinations.

2. Select a destination, e.g. Cut.

The selected modulation destination is now shown in the list. Beside the destination, a default value (50) has been set. The value represents the modulation amount.

• You can set positive and negative modulation values by

clicking on the value in the list, typing in a new value and pressing the Enter key.

To enter negative values type a minus sign followed by the value.

3. Select a suitable envelope curve for the modulation.

You should now hear the Cut parameter being modulated by the envelope as you play.

4. Using the same basic method, you can add any num-

ber of modulation destinations for the envelope.

They will all be listed in the “Mod Dest” box.

• To remove a modulation destination click on its name in

the list and select “Off” from the pop-up.

Assigning Envelope velocity destinations

You can also assign Envelope modulation that is velocity controlled (i.e. governed by how hard or soft you strike a key). This is done as follows:

1. Click in the “Vel Dest” box for one of the envelopes.

A pop-up appears with all possible velocity destinations are shown.

2. Select a destination.

• You can set positive and negative values by clicking on the value in the list, typing in a new value and pressing the Enter key.

To enter negative values type a minus sign followed by the value.

3. Using the same basic method, you can add any number of velocity destinations for the Envelope.

They will all be listed in the “Vel Dest” box.

• To remove a modulation destination click on its name in the list and select “Off” from the pop-up.

Envelope modulation velocity control – an example:

If you follow the steps above and select the Cut parameter as a Velocity destination, the following happens:

• The harder you strike the key, the more the parameter will be modulated by the Envelope.

• If you enter a negative value for the velocity modulation amount, the opposite happens; the harder you play the less the Cut parameter will be modulated by the Envelope.

Event page

The Event page is opened by clicking the EVENT button at the top of the lower half of the control panel. This page contains the most common MIDI controllers and their respective assignments.

The Event page.

The included VST Instruments

The following controllers are available:

Controller Description

Modulation Wheel

Velocity Velocity is used to control parameters according to how

Aftertouch Aftertouch, or channel pressure, is MIDI data sent when

Key Pitch Tracking

The modulation wheel on your keyboard can be used to modulate parameters.

hard or soft you play notes on your keyboard. A common application of velocity is to make sounds brighter and louder if you strike the key harder.

This can change parameter values linearly according to where on the keyboard you play.

To assign any of these controllers to one or several parameters, proceed as follows:

1. Click in the “Mod Dest” box for one of the controllers.

A pop-up appears with all possible modulation destinations are shown. All Sound parameters as well as most LFO and Envelope parameters are available as destinations.

2. Select a destination.

• You can set positive and negative modulation values by

clicking on the value in the list, typing in a new value and pressing the Enter key.

To enter negative values type a minus sign followed by the value.

3. Using the same basic method, you can add any num-

ber of modulation destinations for the controllers.

They will all be listed in the “Mod Dest” box for the respective controller.

• To remove a modulation destination click on its name in

the list and select “Off” from the pop-up.

Effects (EFX) page

• Each separate effect section is laid out with a row of

buttons that determine the effect type or characteristic and a row of sliders for making parameter settings.

• To activate an effect, click the “Active” button so that a dot appears.

Clicking again deactivates the effect.

Distortion

You can select between 4 basic distortion characteristics:

• Distortion provides hard clipping distortion.

• Soft Distortion provides soft clipping distortion.

• Tape Emulation produces distortion similar to magnetic tape saturation.

• Tube Emulation produces distortion similar to valve amplifiers.

The parameters are as follows:

Parameter Description

Drive Sets the amount of distortion by amplifying the input sig-

Filter This parameter sets the crossover frequency of the dis-

Tone This parameter controls the relative amount of lowpass

Level This controls the output level of the effect.

nal.

tortion filter. The distortion filter consists of a lowpass filter and a highpass filter with a cutoff frequency equal to the crossover frequency.

and high-pass filtered signal.

Delay

You can select between 3 basic delay characteristics:

• Stereo Delay has two separate delay lines panned left and right.

• In Mono Delay the two delay lines are connected in series for monophonic dual tap delay effects.

• In Cross delay the delayed sound bounces between the stereo channels.

The parameters are as follows:

Parameter Description

Song Sync This switches tempo sync of the delay times on or off.

Delay 1 Sets the delay time ranging from 0ms to 728 ms. If MIDI

Delay 2 Same as Delay 1.

Feedback This controls the decay of the delays. With higher set-

Filter A lowpass filter is built into the feedback loop of the de-

Level This controls the output level of the effect.

sync is activated the range is from 1/32 to 1/1; straight, triplet or dotted.

tings the echoes repeat longer.

lay. This parameter controls the cutoff frequency of this feedback filter. Low settings result in successive echoes sounding darker.

The included VST Instruments

Modulation

You can select between 3 modulation characteristics:

• The Phaser uses an 8-pole allpass filter to produce the classic phasing effect.

• Chorus produces a rich chorus effect with 4 delays modulated by four independent LFOs.

The parameters are as follows:

Parameter Description

Song Sync This switches tempo sync of the Rate parameter on or

Rate Sets the rate of the LFOs modulating the delay time. If

Depth This parameter controls the depth of the delay time mod-

Delay This parameter sets the delay time of the four delay lines.

Feedback The feedback parameter controls the amount of positive

Level This controls the output level of the effect.

off.

Song Sync is activated the rate will be synced to various beat increments.

ulation.

or negative feedback for all four delay lines. The adjustable range is from -1 to 1.

SR parameters

• If button “F” is active, the selected Part’s program will play back with the sample rate set in the host application.

• If button “1/2” is active, the selected Part’s program will play back with half the original sample rate.

• If button “1/4” is active, the selected Part’s program will play back with a quarter of the original sample rate.

• A bonus effect of using lower sample rates is that it re-

duces the load on the computer CPU, allowing more simultaneous voices to be played etc.

HALionOne

HALionOne is a sample player that can play sound content in the *.hsb (HALion Sound Bank) format. These samples have associated preset files that store the panel settings and reference the HSB samples. Included are several presets (as *.vstpreset and *.trackpreset files).

The operation of HALionOne is very simple; load a preset (a *.vstpreset or a *.trackpreset file for an Instrument Track) and start playing! You do, however, have the option to tweak the basic parameters to tailor the sound to your liking.

HALionOne parameters

The HALionOne differs from other VST Instruments in that the panel parameters shown can vary according to which parameters are stored in the HSB file. HSB files cannot be created with HALionOne – you need the full version of HALion to do this – but when created, certain parameters are assigned as part of the file and the associated program (or preset). This means that for each preset, only these assigned parameters are shown on the instrument panel. Typically, these are filter cutoff, DCA and DCF parameters and any assigned effect parameters (the effects are “built in”).

If you load HALionOne for an Instrument track and select, for example, the “Draw Organ” preset, the following parameters are shown:

Parameter Description

Cutoff This allows you to adjust filter frequency or cutoff. The fil-

Resonance Raising the filter resonance value will emphasize the fre-

DCF Amount Controls the amount of the DCF (filter) envelope.

DCA Attack Controls the time it takes for the DCA signal to reach its

ter used is a Waldorf Low Pass filter with a 24dB slope.

quencies around the set filter frequency.

highest level.

The included VST Instruments

Parameter Description

DCA Decay Controls the time it takes the DCA signal to decay to the

DCA Sustain Controls the DCA signal level after the Decay phase, as

DCA Release Controls the DCA signal after a key is released.

DCA Amount Controls the amount of the DCA (amplifier) envelope.

sustain level.

long as you press the key on your MIDI keyboard.

These parameter assignments are used for many of the HALionOne presets, but not for all. As stated above, other parameters may be shown; these will be clearly labelled on the panel. For most of the presets there are also associated effects – the effect parameters are usually assigned to the quick controls on the right and typically control the dry/wet mix of the effect.

Effect Bypass

• This button, located at the bottom right in the box dis-

playing the preset name, allows you to bypass any effects.

The blue LED beside the button is lit if any effects are used in the preset.

Efficiency slider

The Efficiency slider provides a way of balancing audio quality vs. conservation of computer power. The lower the setting, the more voices are available. As a trade-off, sound quality is reduced.

• Right-click anywhere on the control panel and select “Locate contents”.

A file dialog opens where you can navigate to the folder location.

HALionOne and MIDI files

When the Preferences option “Import to Instrument Tracks” is activated (on the MIDI–MIDI File page), importing a MIDI file into Cubase will automatically set up instrument tracks, with HALionOne as the associated instrument. This allows you to quickly audition any imported MIDI files, to change parameter settings or to add effects, etc.

Voices allocated

• The Voices field dynamically displays the number of

voices currently used.

MIDI and Disk activity LEDs

The MIDI activity LED indicates received MIDI input. The Disk LED will light up green when samples are streamed from disk, and red when samples cannot be loaded from disk in time. In such a case you should consider lowering the Efficiency slider. When the disk LED doesn’t light up, samples are read from memory.

Locate Contents

If you have moved the HALionOne content files to a different location (i.e. any other location than the folder in which it was stored at installation time), you need to use the Locate Contents function to inform HALion One about where to find its files. This is done as follows:

The included VST Instruments

Embracer – Surround Pad Synthesizer (Cubase only)

Embracer is a simple but powerful polyphonic synthesizer designed entirely for producing pads and accompaniment sounds. With its easy-to-use envelope and tone controls, it gives you fast access to the sounds you need without having to search through thousands of presets. However, the most powerful feature of Embracer is its surround output. With a single switch, you can turn the instrument from stereo to surround and the width control allows you to spread your pad sound anywhere from mono to stereo to full 360° surround. The unique “eye” controller gives you an exact idea of how the sound will be placed in a mix.

If you’ve never worked with a surround system before, now is the time to start exploring these possibilities.

Osc 1 and 2

Parameter Description

Wave Selects the waveform for each oscillator. Available wave-

Tone Embracer offers a high pass and low pass filter for each

Width Controls the spatial spread of the signal. A value of 0%

Coarse (Oscillator 2 only)

Fine (Oscillator 2 only)

forms are: Carpet, DigiPad, Choir, Ensemble, Metal Phaze, Phase Strings, Sing Sing, Soft Wave, Spit Strynx, Stepfloor, Submerged, Wave Bellz. Note: If you want to use only one oscillator, set the waveform to OFF. In this case only one voice per key will be used.

oscillator. Both filters are controlled via a single Tone knob. In the 50% center position, the signal will not be filtered. Reducing the tone value adds low pass filtering. Values above 50% add high pass filtering. This parameter can also be controlled by the “eye” controller.

puts the signal mono into the center position. In stereo mode, a value of 100% results in a maximum stereo width. In surround mode, a value of 100% creates a full 360° surround image. The width parameter can be controlled by a variety of modulation sources, as well as by the “eye” controller.

Changes the pitch in semitones. Maximum range is +1/24 semitones = 2 octaves.

Changes the pitch in fine steps with a range of up to +/- 50 cents. Note: If you want to create a slight detune effect between the oscillators, make sure to set the master tune parameter to a negative value of the same amount to keep the instrument in tune.

The Embracer Surround Pad Synthesizer has the following properties:

• Embracer is a Polyphonic surround pad synthesizer.

• 2 oscillators with 12 waveforms.

• Independent envelope and tone controls.

• Stereo and surround outputs.

• Up to 32 voices of polyphony per instance.

• Dynamic width control for exciting 3D sounds.

• “Eye” controller for simultaneous tone and width control.

• Full MIDI control implementation.

The included VST Instruments

Envelope and Level

Parameter Description

Attack Controls the attack time of each oscillator. Higher values

Attack Vel Sets the amount of velocity control of the attack time.

Level Controls the oscillator output level.

Level Vel Sets the amount of velocity control of the oscillator level.

create slower attacks.

Higher values increase the velocity sensitivity.

Master

Parameter Description

Release Controls the overall release time of the volume envelope.

Mode Sets the output mode of Embracer. You can choose be-

Higher values result in longer release times.

tween “Stereo” and “Surround”. In Stereo Mode, Embracer has one stereo output in the VST Mixer. In Surround Mode, Embracer has either a quadraphonic 4-channel output or two independent stereo outputs in the Mixer. See below for more details on using Embracer in a surround mixer setup.

Parameter Description

Width Ctr Use this parameter to select a modulation source for the

Max Poly Sets the total number of voices available. Each oscillator

Fine Tune Use this to adjust the pitch of the whole instrument.

Master Out Sets the overall output volume of the instrument.

width parameter. Available sources are: Mod Wheel, Aftertouch, Velocity and Envelope. Both oscillators are controlled simultaneously. However, modulation depth is controlled independently by the respective width parameter of each oscillator.

uses one voice per note played. Thus, a two-oscillator sound with 8 voices results in 4-voice polyphony. The default value for Max Poly is 16.

Range is +/- 50 cents. Use Fine Tune in combination with the Fine Tune parameter of OSC 2 to create smooth detune effects.

The “Eye”

The Embracer’s unique “Eye” controller offers a creative new way of controlling the sound’s overall character and shape. This controller gives you access to several parameters at the same time.

For each oscillator, there is a circle representing the tone and width of the sound. Click and drag the corresponding circle to change its shape. There are also two (numbered) oscillator handles. You can drag these vertically to change the tone or horizontally to change the width of the respective oscillator. When you drag a handle, the respective Tone and Width knobs of the oscillator are adjusted accordingly. Play a note while editing to hear the effect.

The “eye” can not only be used as a controller for the tone and width parameters, but also works as a surround scope for monitoring the spatial integration of the current sound. The display represents the sound’s position in the stereo or surround sound field. In stereo mode, the sound position is shown only in the upper half of the display and represents the front part of the sound field. In surround mode, the sound position is shown in the upper and lower half of the display and represents the front and rear part of the sound field.

• You can use Embracer’s automation feature to record

the movements of the mouse within the “eye” controller!

Using Embracer in Surround Mode

When you want to enjoy Embracer in 3D, set it up in surround mode and listen to it on a surround system. Let’s assume you have a surround monitoring system set up with your VST mixer and your VST output connections are properly set up.

1. Open an instance of Embracer in the VST instruments rack and set it to surround mode.

2. When you open the mixer you will see two separate stereo channels for the Embracer. The first is titled “Embracer” and the second “Embracer rear”.

3. Assign both channel outputs to the surround output bus.

The two channel strips will now show independent surround panners. By default, the first output pair is assigned to the front left and right channels and the second output pair to the rear left and right channels. The surround width can be controlled with the “width” parameter.

4. Double-click on the surround panner to open its control panel. Set the “Mono/Stereo” parameter to either “Y-Mirror”, “X-mirror” or “XY-mirror”. You can now freely adjust the surround panning to your taste.

5. If your surround configuration includes a center or LFE channel, you can also add some of Embracer’s signal to the center or LFE channels. Feel free to experiment to find out what works best in a given project and mix.

The included VST Instruments

Monologue – Monophonic Analog Modeling Synthesizer (Cubase only)

Monologue is a monophonic analog synthesizer based on physical modeling technology. It offers full, rich and colorful sounds without consuming a lot of CPU power. The Monologue synthesizer is the perfect tool for bass, lead and sequenced sounds.

The Monophonic Analog Modeling Synthesizer has the following properties:

• 2 oscillators with sawtooth, square and triangle waveforms.

• An additional noise generator for white noise.

• Monologue has two filters: a high pass filter and a versatile multimode filter.

• Monologue has a single LFO.

• Monologue has 4-stage ADSR mod and amp envelopes.

• Monologue has an effects section with chorus, phaser, and flanger effects, plus separate delay and overdrive units.

• Monologue has a X/Y matrix pad for additional realtime modulation with access to all Monologue parameters.

Osc 1 and 2

Parameter Description

Waveform (pop-up menu)

Coarse Sets the coarse pitch in semitones. The available range is

Fine Allows you to fine-tune the pitch in cent increments. The

This is where you select the waveform: Saw, Square and Sub for oscillator 1 and Saw, Square and Triangle for Oscillator 2.

+/- one octave.

available range is +/- 50 cents.

Parameter Description

Depth Controls the pitch modulation depth for the mod source

Mod Src Defines the pitch modulation source. Available sources

PWM (OSC2 only)

Sync (OSC2 only)

defined in the “mod src” field. The available range is +/one octave.

are: Modwheel, Aftertouch, Pitchbend, Velocity, LFO and Mod Env.

Controls the pulse width of the square wave. In the center position, pulse width is 50/50. Turning the PWM knob clockwise or counter clockwise creates a positive or negative pulse, respectively.

Activating the sync button synchronizes the pitch of oscillator 2 to the pitch of oscillator 1. When this is active, changing or modulating the pitch of oscillator 2 will change the tone and not the pitch. For the typical sync sound, turn osc 1 down in the mix and use osc 2 only.

Mix

Parameter Description

Osc 1 Sets the pre-filter level for oscillator 1.

Noise Sets the pre-filter noise level.

Osc 2 Sets the pre-filter level for oscillator 2.

Filter

Parameter Description

Mode Sets the filter type. Available filter types are 24 dB Low

Cutoff Sets the filter cutoff frequency. How this parameter oper-

High Pass Sets the cutoff frequency of the additional high-pass fil-

Res Changes the resonance of the multi-mode filter. Full res-

Key Track Determines the amount of key tracking applied to the fil-

Mod Src (A+B)

Depth (A+B)

pass, 18dB Low pass, 12 dB Low pass, 6 dB Low pass, 12dB Band pass and 12 dB High pass.

ates is governed by the filter type.

ter.

onance puts the filter into self-oscillation.

ter cutoff frequency. The available range is 0 to 100%. A range of 100% tunes the filter cutoff frequency to the keyboards pitch 1:1.

Defines the filter modulation source. The available sources are: Modwheel, Aftertouch, Pitchbend, Velocity, LFO, and Mod Env.

Controls the filter modulation depth for the mod source set in the “mod src” field.

The included VST Instruments

Envelope

Parameter Description

A – (Attack) Sets the attack time.

D – (Decay) Sets the decay time.

S – (Sustain) Sets the sustain level.

R – (Release) Sets the release time.

Mod Src (A+B) Defines the envelope modulation source. You can select:

Depth (A+B) Controls the envelope modulation depth for the mod

Modwheel, Aftertouch, Pitchbend, Velocity, LFO and Mod Env.

source defined in the “mod src” field.

LFO

Parameter Description

Waveform (pop-up menu)

Rate Adjusts the frequency of the LFO, thus changing the rate

Sync When “Sync” is “on” the LFO speed will be synchronized

Mod Src Defines the LFO modulation source. Available sources

Depth Controls the LFO modulation depth for the mod source

Here, you can select the waveform for the low frequency oscillator. Available waveforms are: Triangle, Square, Sawtooth, Sample & Hold and Random.

of the modulation. Depending on the LFO sync parameter, you can edit the rate in Hertz or in note values.

to the sequencer’s tempo. This also affects the LFO rate format.

are: Modwheel, Aftertouch, Pitchbend, Velocity, LFO and Mod Env.

defined in the “mod src” field.

X/Y Pad

Parameter Description

X Par Sets the parameter to be modulated on the x axis of the

Y Par Sets the parameter to be modulated on the y axis of the

XY Pad Use the mouse to control any two of Monologue’s param-

XY Pad. All of Monologue’s parameters are available as destinations.

XY Pad.

eters in combination. By moving the mouse horizontally, you can control the x parameter, by moving it vertically, you can control the y parameter. You can also record controller movements as automation data.

Effects

Parameter Description

FX Type (pop-up menu)

Rate Use this to adjust the rate of the effect modulation.

Selects the effect type for Monologue’s pitch effects. The available types are Chorus, Flanger and Phaser.

Parameter Description

Depth Use this to adjust the depth of the effect modulation.

FBK Controls the feedback of the effect.

Mix Controls the balance between dry and wet (effect) signal.

Overdrive Controls the amount of overdrive (distortion) added to

Delay Sets the delay time in musical values. The delay effect is

Spread Controls the stereo spread of the delay signal. If you set

Tone Adds a low pass filter to the delay. Increasing “tone” will

FBK Controls the amount of feedback of the delay. High feed-

Mix Controls the balance between dry and wet (effect) signal.

Set to 0, the effect will be off. Set to 50, the balance between dry and wet signal is 50/50.

the signal. A slight amount of overdrive will create punch and bottom. Higher amounts will add distortion.

always in sync with the song tempo.

this to 0, the delay will be centered mono. Higher amounts of spread will shift the left and right delay channels. If you set this to 100, the delays will “ping-pong” between the left and right channels at an even rate.

make every delay repetition darker in tone.

back levels will create infinite delays. Use this parameter with caution.

Set to 0, the effect will be off. Set to 50, the balance between dry and wet signal is 50/50.

Master

Parameter Description

Glide Mode The available modes are: “held”, “on” and “off”. With

Rate Controls the glide rate – the time it takes for a note to

PB Range Controls the range of a pitch bend MIDI controller. Range

Env Trigger When set to “Multi”, each keystroke will re-trigger the en-

Note Priority Defines which note is played when multiple keys are held.

Oct Controls the master pitch of Monologue in octave steps.

Master Out Controls the master output level that is sent to the VST

Keyboard Pressing the “keyboard” button will reveal a six octave

“held” selected, a glide effect only occurs for notes played legato.

reach its destination pitch.

can be set between 1 and 24 semitones for a total of two octaves.

velopes. When set to “single”, legato notes will not retrigger the envelopes, effectively holding the envelopes on the sustain level until all keys are released before a new note is triggered.

Options are: First, Lowest, Highest, and Last.

Range is +/- 4 octaves.

mixer. Use it to adjust the balance between different presets. Use the VST mixer channel volume to control or automate the Monologue master volume.

virtual keyboard. Pressing the “keyboard” button again will hide the keyboard and display the master section again.

The included VST Instruments

Diagrams

Prologue

Mystic

The included VST Instruments

Spector

The included VST Instruments

MIDI effects

Introduction

This chapter describes the included MIDI realtime effects and their parameters.

How to apply and handle MIDI effects is described in the chapter “MIDI realtime parameters and effects” in the Operation Manual.

Arpache 5

A typical arpeggiator accepts a chord (a group of MIDI notes) as input, and plays back each note in the chord separately, with the playback order and speed set by the user. The Arpache 5 arpeggiator does just that, and more. Before describing the parameters, let’s look at how to create a simple, typical arpeggio:

1. Select a MIDI track and activate monitoring (or record

enable it) so that you can play “thru” the track.

Check that the track is properly set up for playback to a suitable MIDI instrument.

2. Select and activate the arpeggiator.

For now, use it as an insert effect for the selected track.

3. In the arpeggiator panel, use the Quantize setting to

set the arpeggio speed.

The speed is set as a note value, relative to the project tempo. For example, setting Quantize to “16” means the arpeggio will be a pattern of sixteenth notes.

4. Use the Length setting to set the length of the arpeg-

gio notes.

This allows you to create staccato arpeggios (Length smaller than the Quantize setting) or arpeggio notes that overlap each other (Length greater than Quantize).

5. Set the Semi-Range parameter to 12.

This will make the notes arpeggiate within an octave.

6. Play a chord on your MIDI instrument.

Now, instead of hearing the chord, you will hear the notes of the chord played one by one, in an arpeggio.

7. Try the different arpeggio modes by clicking the Playmode buttons.

The symbols on the buttons indicate the playback order for the notes (up, down, up+down, etc.). The Play Order settings are described below.

Parameters

The Arpache 5 has the following settings:

Setting Description

Playmode buttons

Quantize Determines the speed of the arpeggio, as a note value re-

Length Sets the length of the arpeggio notes, as a note value re-

Semi-Range Determines the arpeggiated note range, in semitones

Thru If this is activated, the notes sent to the arpeggiator (i.e.

Play Order If the “Order on” playmode is selected, you can use these

Allows you to select the playback order for the arpeggiated notes. The options are down+up, up+down, up, down, random (“?” button) and “Order off”, in which case you can set the playback order manually with the Play Order fields below.

lated to the project tempo. The range is 32T (1/32 note triplets) to “1.” (dotted note values).

lated to the project tempo. The range is the same as for the Quantize setting.

counted from the lowest key you play. This works as follows: – Any notes you play that are outside this range will be transposed in octave steps to fit within the range. – If the range is more than one octave, octave-transposed copies of the notes you play will be added to the arpeggio (as many octaves as fit within the range).

the chord you play) will be passed through the plug-in (sent out together with the arpeggiated notes).

“slots” to specify a custom playback order for the arpeggio notes: Each slot corresponds to a position in the arpeggio pattern. For each slot, you specify which note should be played on that position by selecting a number. The numbers correspond to the keys you play, counted from the lowest pressed key. So, if you play the notes C3-E3-G3 (a C major chord), “1” would mean C3, “2” would mean E3, and “3” would mean G3. Note that you can use the same number in several slots, creating arpeggio patterns that are not possible using the standard play modes.

MIDI effects

Arpache SX

This is an even more versatile and advanced arpeggiator, capable of creating anything from traditional arpeggios to complex, sequencer-like patterns. The Arpache SX has the following parameters:

Parameter Description

Arp Style Determines the basic behavior of the Arpache SX. In the

Quantize Determines the resolution of the arpeggio, i.e. its “speed”.

Length Determines the length of the arpeggio notes. The

Transpose When a mode other than “Off” is selected, the arpeggio

Play Mode See the description of Seq mode below!

Trigger Mode See the description of Seq mode below!

Velocity Source Determines the velocity of the notes in the arpeggio. The

Thru If this is activated, the notes sent to the arpeggiator (i.e.

Seq mode, the arpeggiator uses an imported MIDI part as a starting point for the pattern – this is described below. All other modes describe how the notes in the chord you play should be arpeggiated – up, down, up & down, mostly up or mostly down.

The “Source” setting is used in Seq mode, see below.

“Source” setting is used in Seq mode, see below.

will be expanded upwards, downwards or both (depending on the mode). This is done by adding transposed repeats of the basic arpeggio pattern. The “Octave” setting sets the number of transposed repeats and the “SemiSteps” setting determines how much each repeat will be transposed.

options are Seq (used in Seq mode only), Input (the same as the velocity values of the corresponding notes in the chord you play) or Fixed, in which case all arpeggio notes will get the velocity set in the value field to the right.

the chord you play) will be passed through the plug-in (sent out together with the arpeggiated notes).

Parameter Description

Poly Determines how many notes should be accepted in the

Sort Mode When you play a chord into the Arpache SX, the arpeg-

input chord. The “All” setting means there are no limitations.

giator will look at the notes in the chord as sorted in the order specified here. For example, if you play a C-E-G chord, with “Note Lowest” selected, C will be the first note, E will be the second and G the third. This affects the result of the Arp Style setting.

Seq mode

When Seq mode is selected in the Arp Style section, the Arpache SX uses an additional MIDI part as a pattern. This pattern then forms the basis for the arpeggio, in conjunction with the MIDI input.

• To import a MIDI part into the Arpache SX, drag it from the Project window and drop it in the “Drop a MIDI Part” section on the Arpache SX.

Now, the notes in the dropped MIDI part will be sorted internally, either according to their pitch (“Sort Phrase by Pitch” checkbox activated) or according to their play order in the part. This results in a list of numbers. For example, if the notes in the MIDI part are C E G A E C and they are sorted according to pitch, the list of numbers will read 1 2 3 4 2 1. Here, there are 4 different notes/numbers and 6 trigger positions.

Now the MIDI input (the chord you send into the Arpache SX) will also generate a list of numbers, with each note in the chord corresponding to a number depending on the Sort Mode setting.

The two lists of numbers will now be matched – the Arpache SX tries to play back the pattern from the dropped MIDI file but using the notes from the MIDI input (chord). The result depends on the Trigger Mode setting:

Trigger Mode Description

Trigger The whole pattern from the dropped MIDI file will be

Trigger Cnt. As above, but even when all keys are released, the

played back, but transposed according to one of the notes in the MIDI input. Which note is used for transposing depends on the Sort Mode setting.

phrase continues playing from the last position (where it stopped), when a new key is pressed on the keyboard. This is typically used when playing “live” through the Arpache SX.

MIDI effects

Trigger Mode Description

Sort Normal Matches the notes in the MIDI input to the notes in the

Sort First As above, but if there are fewer notes in the MIDI input,

Sort Any As above, but if there are fewer notes in the MIDI input,

Arp. Style As above, but if there are fewer notes in the MIDI input,

dropped MIDI part. If there are fewer notes (numbers) in the MIDI input, some steps in the resulting arpeggio will be empty.

the missing notes will be replaced by the first note.

the missing notes will be replaced by any (random) note.

the missing notes will be replaced by the last valid note in the arpeggio.

Finally, the Play Mode setting affects the resulting arpeggio. Note also that you can choose to keep the original note timing, note length and note velocities from the dropped MIDI part, by selecting “Source” in the Quantize and Length fields, and “Seq” in the Velocity Source section.

Waveform selectors

These determine the shape of the controller curves sent out. The results of most of these waveforms are obvious from looking at the buttons, but a few of them require some extra explanations:

This generates a “random” controller curve.

These generate curves with a “periodical envelope”. The amplitude will gradually increase or decrease over a time, set with the Period parameter (see below).

Autopan

This plug-in works a bit like an LFO in a synthesizer, allowing you to send out continuously changing MIDI controller messages. One typical use for this is automatic MIDI panning (hence the name), but you can select any MIDI Continuous Controller event type. The Autopan effect has the following parameters:

Period

This is where you set the speed of the Autopan, or rather the length of a single controller curve cycle. The value can be set in ticks (1/480ths of quarter notes), or as rhythmically exact note values (by clicking the arrow buttons next to the value). The lower the note value, the slower the speed. For example, if you set this to 240 (“8th”) the waveform will be repeated every eighth note.

Density

This determines the density of the controller curves sent out. The value can be set in ticks (1/480ths of quarter notes), or as rhythmically exact note values (by clicking the arrow buttons next to the value). The higher the note value, the smoother the controller curve. For example, if you set this to 60 (shown as “32th”) a new controller event will be sent out every 60th tick (at every 1/32 note position).

You should probably avoid extremely low Density values, as these will generate a very large number of events (which may cause the MIDI instrument to “choke”, delaying notes etc.).

MIDI effects

AmpMod

This is only used for the two waveforms with “periodical envelopes” (see above). The period value (set in beats) determines the length of the envelope. In the following figure, Period is set to 4th and the AmpMod is 4 beats. This results in a quarter note-based curve in which the top amplitude decreases gradually, repeated each bar.

Controller

Determines which Continuous Controller type is sent out. Typical choices would include pan, volume and brightness but your MIDI instrument may have controllers mapped to various settings, allowing you to modulate the synth parameter of your choice – check the MIDI implementation chart for your instrument for details!

Min and Max

These determine the minimum and maximum controller values sent out, i.e. the “bottom” and “top” of the controller curves.

Chorder

The Chorder is a MIDI chord processor, allowing you to assign complete chords to single keys in a multitude of variations. There are three main modes of operation: Normal, Octave and Global. You switch between these modes by clicking the respective button to the left below the keyboard.

1. Select the key to which you want to assign a chord, by clicking in the lower “Trigger Note” keyboard display.

2. Set up the desired chord for that key by clicking in the upper “Chord Setup” keyboard display.

Clicking a key adds it to the chord; clicking it again removes it.

3. Repeat the above with any other keys you wish to use.

If you now play the keys you have set up, you will instead hear the assigned chords.

Octave mode

The Octave mode is similar to the Normal mode, but you can only set up one chord for each key in an octave (that is, twelve different chords). When you play a C note (regardless of whether it’s a C3, C4 or any other octave) you will hear the chord set up for the C key.

Global mode

Normal mode

In this mode, you can assign a different chord to each single key on the keyboard. Proceed as follows:

MIDI effects

In the Global mode, you only set up a single chord, using the Chord Setup keyboard display (the lower keyboard display is hidden). This chord is then played by all keys on the keyboard, but transposed according to the note you play.

Using switches

The Switch Setup section at the bottom of the panel allows you to set up variations to the defined chords. This works with all three modes and provides a total of eight variations for each assignable key (that is, a maximum of 8 different chords in Global mode, 12 x 8 chords in Octave mode and 128 x 8 chords in Normal mode).

The variations can be controlled by velocity or note range. Here’s how you set it up:

1. Select one of the two switch modes: velocity or note.

How to use these is explained below.

The velocity switch mode selected.

2. Specify how many variations you want to use with the

Use value box.

3. Click the first Switch Select button and set up the

chord(s) you want for the first variation.

4. Click the next Switch Select button and set up the

chord(s) you want for that variation.

5. Repeat this for the number of variations you specified

with the Use setting.

Each Switch Select button corresponds to a variation.

6. Now you can play the keyboard and control the varia-

tions according to the selected switch modes.

These work as follows:

Switch mode Description

Velocity The full velocity range (1–127) is divided into “zones”,

Note In this mode, the chorder will play one chord at a time –

according to the number of variations you specified. For example, if you’re using two variations (Max is set to 2) there will be two velocity “zones”: 1–63 and 64–127. Playing a note with velocity at 64 or higher will trigger the second variation, while playing a softer note will trigger the first variation.

you cannot play several different chords simultaneously. When the Note switch mode is selected, you play a key to determine the base note for the chord, then press a higher key to select a variation. The variation number will be the difference between the two keys. To select variation 1, press a key one semitone higher than the base note, for variation 2, press a key two semitones higher, and so on.

Compress

This MIDI compressor is used for evening out or expanding differences in velocity. Though the result is similar to what you get with the Velocity Compression track parameter, the Compress plug-in presents the controls in a manner more like regular audio compressors. The parameters are:

Parameter Description

Threshold Only notes with velocities over this value will be affected

Ratio This determines the rate of compression applied to the

Gain This adds or subtracts a fixed value from the velocities.

by the compression/expansion.

velocity values above the threshold level. Ratios greater than 1:1 result in compression (i.e. less difference in velocity) while ratios lower than 1:1 result in expansion (i.e. greater difference in velocity). What actually happens is that the part of the velocity value that is above the threshold value is divided by the ratio value.

Since the maximum range for velocity values is 0–127, you may need to use the Gain setting to compensate, keeping the resulting velocities within the range. Typically, you would use negative Gain settings when expanding and positive Gain settings when compressing.

• To turn the variation switch feature off, select the “No

Switch” mode.

MIDI effects

Context Gate

The Context Gate allows for selective triggering/filtering of MIDI data. It can be used for context selective control of MIDI devices. The following parameters are available:

Poly Mode – Chord Gate

When Chord Gate is activated, only notes in recognized chords are let through. There are two modes of chord recognition available; Simple and Normal. In Simple mode, all standard chords (major/minor/b5/dim/sus/maj7 etc.) are recognized, whereas Normal mode also takes more tensions into account.

Poly Mode – Polyphony Gate

This allows you to filter MIDI according to the number of pressed keys within a given key range. This can be used independently or in conjunction with the Chord Gate function.

• The Minimum value field allows you to specify the mini-

mum number of notes needed for the notes to be let through.

• The Upper/Lower Range sets the key range.

Only notes within this range will be let through.

Mono Mode – Channel Gate

When this is activated, only single note events in a specified MIDI channel are let through, which can be used with MIDI controllers that can send MIDI over several channels simultaneously, for example guitar controllers which send data for each string over a separate channel. You can either set this to a specific channel (1–16), or to “Any”, i.e. no channel gating.

Mono Mode – Key Range Gate

This can be used independently or in conjunction with the Channel Gate function. Played notes will sound (no note off message) until a note is played inside the set Upper and Lower range (and additionally the set Channel Gate channel, if checked).

Panic button

Sends an “All Notes Off” message over all channels, in case of hanging notes.

Learn button

When this is activated, you can specify a Reset trigger event via MIDI. Whenever this specific MIDI event is sent, it triggers an “All Notes Off” message. When you have set the Reset event, the Learn button should be deactivated.

Auto Release time

If there is no input activity, all resounding notes are sent a note off message after the set time, in seconds or milliseconds.

Minimum Velocity

Notes below a set velocity threshold value will be gated.

MIDI effects

Density

This generic control panel affects the “density” of the notes being played from (or thru) the track. When this is set to 100%, the notes are not affected. Lowering the Density setting below 100% will randomly filter out or “mute” notes. Raising the setting above 100% will instead randomly add new notes.

Micro Tuner

The Micro Tuner lets you set up a different microtuning scheme for the instrument, by detuning each key.

• Each Detune field corresponds to a key in an octave (as indicated by the keyboard display). Adjust a Detune field to raise or lower the tuning of that key, in cents (hundreds of a semitone).

• Set the Convert setting according to whether the track is routed to a VST instrument or a “real” standard MIDI instrument (capable of receiving microtuning information).

The Micro Tuner comes with a number of presets, including both classical and experimental microtuning scales.

MIDIControl

This generic control panel allows you to select up to eight different MIDI controller types, and use the value fields or sliders (which are displayed when you click on a value field while holding down the [Alt]/[Option] key) to set values for these. A typical use for this would be if you’re using a MIDI instrument with parameters that can be controlled by MIDI controller data (e.g. filter cutoff, resonance, levels, etc.). By selecting the correct MIDI controller types, you can use the plug-in as a control panel for adjusting the sound of the instrument from within Cubase, at any time.

• To select a controller type, use the pop-up menus to the right.

• To deactivate a controller slider, set it to “Off” (drag the slider all the way down).

MIDI effects

MIDIEcho

This is an advanced MIDI Echo, which will generate additional echoing notes based on the MIDI notes it receives. It creates effects similar to a digital delay, but also features MIDI pitch shifting and much more. As always it is important to remember that the effect doesn’t “echo” the actual audio, but the MIDI notes which will eventually produce the sound in the synthesizer.

The following parameters are available:

Quantize

The echoed notes will be moved in position to a quantizing grid, as set up with this parameter. You can either use the slider or type to set the value in ticks (1/480 ticks of quarter notes) or click the arrow buttons to step between the “rhythmically exact” values (displayed as note values – see the table below). This makes it easy to find rhythmically relevant quantize values, but still allows experimental settings in between.

An example: setting this to “16th” will force all echo notes to be played on exact 16th note positions, regardless of the timing of the original notes and the Echo-Quant. setting.

Ö To disable quantizing, set this parameter to its lowest value (1).

Length

This sets the length of the echoed notes. This can either be the same as their original notes (parameter set to its lowest value, “Source”) or the length you specify manually. You can either set the length in ticks or click the arrow buttons to step between the “rhythmically exact” lengths (displayed as note values – see the table below).

Ö The length can also be affected by the Length Decay parameter.

Repeat

This is the number of echoes (1 to 12) from each incoming note.

Echo-Quant.

The Echo-Quant. parameter sets the delay time, i.e. the time between a played note and its first echo note. You can either use the slider or type to set the value in ticks (1/480 ticks of quarter notes) or click the arrow buttons to step between the “rhythmically exact” delay times (displayed as note values – see the table below).

For example, setting this to “8th” will cause the echo notes to sound an eighth note after their original notes.

Ö The echo time can also be affected by the Echo Decay parameter.

Velocity Decay

This parameter allows you to add or subtract to the velocity values for each repeat so that the echo fades away or increases in volume (provided that the sound you use is velocity sensitive). For no change of velocity, set this to 0 (middle position).

Pitch Decay

If you set this to a value other than 0, the repeating (echoing) notes will be raised or lowered in pitch, so that each successive note has a higher or lower pitch than the previous. The value is set in semitones.

For example, setting this to -2 will cause the first echo note to have a pitch two semitones lower than the original note, the second echo note two semitones lower than the first echo note, and so on.

Echo Decay

This parameter lets you adjust how the echo time should be changed with each successive repeat. The value is set as a percentage.

• When set to 100% (middle position) the echo time will be the same for all repeats (as set with the Echo-Quant. parameter).

• If you raise the value above 100, the echoing notes will play with gradually longer intervals (i.e. the echo will become slower).

• If you lower the value below 100, the echoing notes will become gradually faster, like the sound of a bouncing ball.

MIDI effects

Length Decay

This parameter lets you adjust how the length of the echoed notes should change with each successive repeat. The higher the setting (25 –100), the longer the echoed notes will be compared to their original notes.

Note to CC

About ticks and note values

The timing and position-related parameters (Echo-Quant., Length and Quantize) can all be set in ticks. There are 480 ticks to each quarter note. While the parameters allow you to step between the rhythmically relevant values (displayed as note values), the following table can also be of help, showing you the most common note values and their corresponding number of ticks:

Note Value Ticks

1/32 note 60

1/16 note triplet 90

1/16 note 120

1/8 note triplet 160

1/8 note 240

Quarter note triplet 320

Quarter note 480

Half note 960

This effect will generate a MIDI continuous controller event for each incoming MIDI note. The value of the controller event corresponds to the note number (pitch) and the single parameter allows you to select which MIDI controller should be sent out (by default controller 7, MIDI volume). The incoming MIDI notes pass through the effect unaffected.

For example, if MIDI volume (controller 7) is selected, notes with low note numbers (pitches) will lower the volume in the MIDI instrument, while higher note numbers will raise the volume. This way you can create “keyboard tracking” of volume or other parameters.

Note that a controller event is sent out each time a new note is played. If high and low notes are played simultaneously, this could lead to somewhat confusing results. Therefore, the Note to CC effect is probably best applied to monophonic tracks (playing one note at a time).

MIDI effects

Quantizer

Quantizing is a function that changes the timing of notes by moving them towards a “quantize grid”. This grid may consist of e.g. straight sixteenth notes (in which case the notes would all get perfect sixteenth note timing), but could also be more loosely related to straight note value positions (applying a “swing feel” to the timing, etc.).

Ö The main Quantize function in Cubase is described in the Operation manual.

While the Quantize function on the MIDI menu applies the timing change to the actual notes on a track, the Quantizer effect allows you to apply quantizing “on the fly”, changing the timing of the notes in real time. This makes it easier to try out different settings when creating grooves and rhythms. Note however, that the main Quantize function contains settings and features that are not available in the Quantizer.

The Quantizer has the following parameters:

Parameter Description

Quantize Note This sets the note value on which the quantize grid is

Swing This allows you to offset every second position in the

Strength This determines how close the notes should be moved to

Delay This delays (positive values) or advances (negative val-

based. Straight notes, triplets and dotted notes are available. For example, “16” means straight sixteenth notes and “8T” means eighth note triplets.

grid, creating a swing or shuffle feel. The value is a percentage – the higher you set this, the farther to the right every even grid position is moved.

the quantize grid. When set to 100%, all notes will be forced to the closest grid position; lowering the setting will gradually loosen the timing.

ues) the notes in milliseconds. Unlike the Delay setting in the Track Parameters, this delay can be automated.

Step Designer

The Step Designer is a MIDI pattern sequencer that sends out MIDI notes and additional controller data according to the pattern you set up. It does not make use of the incoming MIDI, other than automation data (such as recorded pattern changes).

Creating a basic pattern

1. Use the Pattern selector to choose which pattern to

create.

Each Step Designer can hold up to 200 different patterns.

2. Use the Quantize setting to specify the “resolution” of

the pattern.

In other words, this setting determines how long each step is. For example, if Quantize is set to “16th” each step will be a sixteenth note.

3. Specify the number of steps in the pattern with the

Length setting.

As you can see in the note display, the maximum number of steps is 32. For example, setting Quantize to 16 and Length to 32 would create a two bar pattern with sixteenth note steps.

4. Click in the note display to insert notes.

You can insert notes on any of the 32 steps, but the Step Designer will only play back the number of steps set with the Length parameter.

• The display spans one octave (as indicated by the pitch

list to the left). You can scroll the displayed octave up or down by clicking in the pitch list and dragging up or down.

This way you can insert notes at any pitch. Note that each step can contain one note only – the Step Designer is monophonic.

Click and drag to view other octaves.

• To remove a note from the pattern, click on it again.

MIDI effects

5. Select “Velocity” on the Controllers pop-up menu.

This pop-up menu determines what is shown in the lower controller display.

6. Adjust the velocity of the notes by dragging the velocity bars in the controller display.

7. To make notes shorter, select “Gate” on the Controllers pop-up menu and lower the bars in the controller display.

When a bar is set to its maximum value (fully up), the corresponding note will be the full length of the step (as set with the Quantize parameter).

8. To make notes longer, you can tie two notes together. This is done by inserting two notes and clicking the Tie button below the second note.

When the Tie button is lit for a note, it won’t retrigger – instead the previous note will be lengthened. Also, the tied (second) note will automatically get the same pitch as the first note. You can add more notes and tie them in the same way, creating longer notes.

9. If you now start playback in Cubase, the pattern will play as well, sending out MIDI notes on the track’s MIDI output and channel (or, if you have activated the Step Designer as a send effect, on the MIDI output and channel selected for the send in the Inspector).

Adding controller curves

The Controllers pop-up menu has two more items: two controller types.

• You can select which two controller types (filter cutoff, resonance, volume, etc.) should be available on the popup menu by clicking the Setup button and selecting controllers from the lists that appears.

This selection is global to all patterns.

• To insert controller information in a pattern, select the desired controller from the pop-up menu and click in the controller display to draw events.

The MIDI controller events will be sent out during playback along with the notes.

Ö If you drag a controller event bar all the way down, no controller value will be sent out on that step.

Other pattern functions

The following functions make it easier to edit, manipulate and manage patterns:

Function Description

Shift Oct These buttons allow you to shift the entire pattern up or

Shift Time Moves the pattern one step to the left or right.

Reverse Reverses the pattern, so that it plays backwards.

Copy/Paste Allows you to copy the current pattern and paste it in an-

Reset Clears the pattern, removing all notes and setting con-

Random Generates a completely random pattern – useful for ex-

Swing The Swing parameter allows you to offset every second

Presets Handling of Presets is described in the chapter “MIDI re-

down in octave steps.

other pattern location (in the same Step Designer or another).

troller values to default.

perimenting.

step, creating a swing or shuffle feel. The value is a percentage – the higher you set this, the farther to the right every even step is moved.

altime settings” in the Operation manual. Note that a stored Preset contains all 200 patterns in the Step Designer.

Automating pattern changes

You can create up to 200 different patterns in each Step Designer – just select a new pattern and add notes and controllers as described above.

Typically, you want the pattern selection to change during the project. You can accomplish this by automating the Pattern selector, either in real time by activating the Write automation and switching patterns during playback or by drawing in the automation subtrack for the Step Designer’s MIDI track. Note that you can also press a key on your MIDI keyboard to change patterns. For this, you have to set up the Step Designer as an insert effect for a record enabled MIDI track. Press C1 to select pattern 1, C#1 to select pattern 2, D1 to select pattern 3, D#1 to select pattern 4 and so on. If you want, you can record these pattern changes as note events on a MIDI track. Proceed as follows:

1. Select the desired MIDI track or create a new one and

activate the Step Designer as an insert effect.

2. Set up several patterns as described above.

MIDI effects

3. Press the Record button and press the desired keys on your keyboard to select the corresponding patterns.

The pattern changes will be recorded on the MIDI track.

4. Stop recording and play back the MIDI track.

You will now hear the recorded pattern changes.

Ö This will only work for the first 92 patterns.

Track Control

Selecting a control panel

At the top of the Track Controls effect window you will find a pop-up menu. This is where you select which of the available control panels to use:

Control panel Description

GS Basic Controls

XG Effect + Sends

XG Global Global settings (affecting all channels) for instruments

Effect sends and various sound control parameters for use with instruments compatible with the Roland GS standard.

Effect Sends and various sound control parameters for use with instruments compatible with the Yamaha XG standard.

compatible with the Yamaha XG standard.

About the Reset and Off buttons

Regardless of the selected mode, you will find two buttons labelled “Off” and “Reset” at the top of the control panel:

• Clicking the Off button will set all controls to their low-

est value, without sending out any MIDI messages.

• Clicking the Reset button will set all parameters to their

default values, and send out the corresponding MIDI messages.

For most parameters, the default values will be zero or “no adjustment”, but there are exceptions to this. For example, the default Reverb Send settings are 64.

The Track Control effect contains three ready-made control panels for adjusting parameters on a GS or XG compatible MIDI device. The Roland GS and Yamaha XG protocols are extensions of the General MIDI standard, allowing for more sounds and better control of various instrument settings. If your instrument is compatible with GS or XG, the Track Controls effect allows you to adjust sounds and effects in your instrument from within Cubase.

MIDI effects

GS Basic Controls

The following controls are available when the GS Basic Controls mode is selected:

Control Description

Send 1 Send level for the reverb effect.

Send 2 Send level for the chorus effect.

Send 3 Send level for the “variation” effect.

Attack Adjusts the attack time of the sound. Lowering the value

Decay Adjusts the decay time of the sound. Lowering the value

Release Adjusts the release time of the sound. Lowering the value

Cutoff Adjusts the filter cutoff frequency.

Resonance Adjusts the filter resonance.

Express Allows you to send out expression pedal messages on

Press. Allows you to send out aftertouch (channel pressure)

Breath Allows you to send breath control messages on the

Modul. Allows you to send modulation messages on the track’s

shortens the attack, while raising it gives a slower attack. Middle position (64) means no adjustment is made.

shortens the decay, while raising it makes the decay longer.

shortens the release, while raising it makes the release time longer.

the track’s MIDI channel.

messages on the track’s MIDI channel. This is useful if your keyboard cannot send aftertouch, but you have sound modules that respond to aftertouch. The default value for this parameter is zero.

track’s MIDI channel.

MIDI channel (just as you normally do with a modulation wheel on a MIDI keyboard).

XG Effects + Sends

The following controls are available when the XG Effects + Sends mode is selected:

Control Description

Send 1 Send level for the reverb effect.

Send 2 Send level for the chorus effect.

Send 3 Send level for the “variation” effect.

Attack Adjusts the attack time of the sound. Lowering this value

Release Adjusts the release time of the sound. Lowering this value

Harm.Cont Adjusts the harmonic content of the sound.

Bright Adjusts the brightness of the sound.

CutOff Adjusts the filter cutoff frequency.

Resonance Adjusts the filter resonance.

shortens the attack, while raising it gives a slower attack. Middle position means no adjustment is made.

shortens the release, while raising it makes the release time longer. Middle position means no adjustment is made.

XG Global Settings

In this mode, the parameters affect global settings in the instrument(s). Changing one of these settings for a track will in fact affect all MIDI instruments connected to the same MIDI output, regardless of the MIDI channel setting of the track. Therefore, to avoid confusion it might be a good idea to create an empty track and use this only for these global settings.

The following controls are available:

Control Description

Eff. 1 This allows you to select which type of reverb effect

Eff. 2 This allows you to select which type of chorus effect

Eff. 3 This allows you to select one of a large number of “varia-

Reset Sends an XG reset message.

MastVol This is used to control the Master Volume of an instru-

should be used: No effect (the reverb turned off), Hall 1– 2, Room 1–3, Stage 1–2 or Plate.

should be used: No effect (the chorus turned off), Chorus 1–3, Celeste 1–3 or Flanger 1–2.

tion” effect types. Selecting “No Effect” is the same as turning off the variation effect.

ment. Normally you should leave this in its highest position and set the volumes individually for each channel (with the volume faders in the Cubase mixer or in the Inspector).

MIDI effects

Track FX

This plug-in is essentially a duplicate of the Track Parameter section. This can be useful if you e.g. need extra Random or Range settings, or if you prefer to have your track parameters in a separate window (to get this, [Alt]/[Option]-click the Edit button for the effect).

The Track FX also includes an additional function that isn’t available among the track parameters:

Scale Transpose

This allows you to transpose each incoming MIDI note, so that it fits within a selected musical scale. The scale is specified by selecting a key (C, C#, D, etc.) and a scale type (major, melodic or harmonic minor, blues, etc.).

Ö To turn Scale Transpose off, select “No Scale” from the Scale pop-up menu.

Transformer

The Transformer is a real-time version of the Logical Editor. With this you can perform very powerful MIDI processing on the fly, without affecting the actual MIDI events on the track.

The Logical Editor is described in the corresponding chapter in the Operation Manual. As the parameters and functions are almost identical, the descriptions for the Logical Editor also apply to the Transformer. Where there are differences between the two, this is clearly stated.

MIDI effects

Index

Apogee UV22 HR 25 Arpache 5 76 Arpache SX 77 Arpeggiator 76, 77 AutoPan 25 Autopan (MIDI effect) 78

Bitcrusher 32

Chopper 32 Chorder (MIDI effect) 79 Cloner 26 Compress (MIDI effect) 80 Compressor 10

DaTube 9 Density (MIDI Effect) 82 Dither 25

Embracer Synthesizer 69 EnvelopeShaper 12 Expander 12

Flanger 27

Gate 13 GEQ-10 19 GEQ-30 19 GS Control Panel 87

Limiter 14

Maximizer 14 Metalizer 27 Micro Tuner (MIDI Effect) 82 MIDI Context Gate (MIDI effect) 81 MIDI Echo (MIDI effect) 83 MIDI Step Sequencer 85 MIDIControl (MIDI Effect) 82

Mix6To2 37 ModMachine 6 MonoDelay 7 Monologue Synthesizer 71 MonoToStereo 36 MultibandCompressor 16 MultiScope 37 Mystic

Modulation parameters 62 Sound parameters 60

Note to CC (MIDI effect) 84

Octaver 33

Pattern Sequencer 85 Phaser 28 PingPongDelay 8 Prologue

Modulation parameters 47 Sound parameters 42

Q 25 Quantizer (MIDI effect) 85

Ringmodulator 28 Roland GS Control Panel 87 RoomWorks 34 RoomWorks SE 35 Rotary 29

SMPTE Generator 39 SoftClipper 10 Spector

Modulation parameters 54 Sound parameters 52

SPL DeEsser 11 Step Designer (MIDI effect) 85 StepFilter 21 StereoDelay 8 StereoEnhancer 36 StudioChorus 30 StudioEQ 20 SurroundPan 37

ToneBooster 22 Tonic 23 Track Control (MIDI Effect) 87 Track FX (MIDI Effect) 89 Tranceformer 30 Tremolo 31

UV22 HR 25

Vintage compressor 17 VST Instruments

HALionOne 67 Mystic 60 Prologue 42, 60 Spector 52

VSTDynamics 17

XG Control Panel 87

Yamaha XG Control Panel 87

Steinberg Cubase 4.0 Plug-in Reference

Specifications and Main Features

Frequently Asked Questions

User Manual

The included effect plug-ins

Introduction

Delay plug-ins

ModMachine (Cubase only)

MonoDelay

PingPongDelay

StereoDelay

Distortion plug-ins

AmpSimulator

DaTube

Distortion

SoftClipper (Cubase only)

Dynamics plug-ins

Compressor

SPL DeEsser (Cubase only)

EnvelopeShaper (Cubase only)

Expander (Cubase only)

Gate

Limiter

Maximizer

MIDI Gate

MultibandCompressor (Cubase only)

VintageCompressor (Cubase only)

VSTDynamics

EQ plug-ins

GEQ-10/GEQ-30 (Cubase only)

StudioEQ (Cubase only)

Filter plug-ins

DualFilter

StepFilter

ToneBooster

WahWah

Modulation plug-ins

AutoPan

Chorus

Cloner (Cubase only)

Flanger

Metalizer

Phaser

Ringmodulator

Rotary

StudioChorus

Tranceformer

Tremolo

Vibrato

Other plug-ins

Bitcrusher

Chopper

Octaver

Tuner

Restoration plug-ins

Reverb plug-ins

Grungelizer

RoomWorks

RoomWorks SE

Spatial plug-ins

MonoToStereo

StereoEnhancer

Surround plug-ins (Cubase only)

Tools plug-ins

Mix6To2 (Cubase only)

MultiScope (Cubase only)

SMPTEGenerator (Cubase only)

TestGenerator (Cubase only)

The included VST Instruments

Introduction

Prologue

Sound parameters

Modulation and controllers

Spector (Cubase only)

Sound parameters

Modulation and controllers

Mystic (Cubase only)

Sound parameters

Modulation and controllers

HALionOne