Cristina Bachmann, Heiko Bischoff, Marion Bröer, Sabine Pfeifer
Thanks to: Georg Bruns
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.
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registered trademarks.
14About this chapter
14Setting up busses
18Using the busses
20Setting up Group and FX channels
20About monitoring
20External instruments/effects (Cubase only)
60Background
61Operations
63Options and Settings
65The Virtual Keyboard
66Recording
67Background
67Basic recording methods
69Audio recording specifics
79MIDI recording specifics
84Options and Settings
87Recovery of audio recordings after system failure
136Background
137Control Room operations
137Configuring the Control Room
140The Control Room Overview
141The Control Room Mixer
146Studios and Studio Sends
149Direct Monitoring and latency
150 Audio effects
151About this chapter
151Overview
152Insert effects
157Send effects
161Using the Side-Chain input
163Using external effects (Cubase only)
163Editing effects
164Effect presets
166Installing and managing effect plug-ins
96The Arranger track
97Introduction
97Setting up the Arranger track
98Working with arranger events
100Flattening the Arranger chain
101Live Mode
102Arranging your music to video
4
Table of Contents
169 VST Instruments and Instrument
tracks
170Introduction
170VST Instrument channels vs. instrument tracks
170VST Instrument channels
172Instrument tracks
174What do I need? Instrument channel or Instrument
track?
174Instrument Freeze
175VST instruments and processor load
175Using presets for VSTi configuration
178About latency
179External instruments (Cubase only)
180 Surround sound (Cubase only)
181Background
182Operations
188 Automation
189Introduction
189Enabling and disabling the writing of automation
data
190What can be automated?
191The Automation panel
191Automation modes
193Automation performance utilities
195The Settings section
196Hints and further options
196Automation track operations
199Working with automation curves
202MIDI Controller automation
220Background
221Window overview
224General Operations
230Options and settings
231AudioWarp: Tempo matching audio
234Working with hitpoints and slices
238Free Warp
241Flattening the realtime processing
243VariAudio (Cubase only)
254 The Audio Part Editor
255Background
255Opening the Audio Part Editor
255Window overview
257Operations
258Common methods
259Options and Settings
260 The Pool
261Background
261Window overview
263Operations
273 The MediaBay
274Introduction
276Window overview
276Browsing for media files
279Finding files in the Viewer section
283Previewing files in the Scope section
284The Tag Editor (Cubase only)
288 Working with Track Presets
289Introduction
289Types of track presets
290Applying track presets
292Creating a track preset
293Creating tracks from track presets or VST presets
293Previewing MIDI, instrument and VST presets
independently of tracks
295 Track Quick Controls
296Introduction
296Setting up the Quick Controls tab
297Setting up quick controls on an external remote
315Background
315MIDI devices – general settings and patch handling
320About Device panels (Cubase only)
323About Studio Connections (Cubase only)
325 MIDI processing and quantizing
326Introduction
326The Quantizing functions
331Making your settings permanent
332Dissolve Part
333Bounce Selection
333Repeat Loop
333Other MIDI functions
337 The MIDI editors
338Introduction
338Opening a MIDI editor
340The Key Editor – Overview
342Key Editor operations
356The In-Place Editor
358The Drum Editor – Overview
359Drum Editor operations
361Working with drum maps
364Using drum name lists
365The List Editor – Overview
365List Editor operations
368Working with System Exclusive messages
370Recording System Exclusive parameter changes
370Editing System Exclusive messages
372 VST Expression
373Introduction
374VST Expression in Cubase
377Creating and editing Expression Maps
380 The Logical Editor, Transformer and
Input Transformer
381Introduction
381Opening the Logical Editor
382Window overview
382Setting up filter conditions
386Selecting a function
387Specifying actions
389Applying the defined actions
389Working with presets
389The Input Transformer
391 The Project Logical Editor
392Introduction
392Opening the Project Logical Editor
392Window overview
393Setting up filter conditions
397Specifying actions
399Selecting a function
399Applying Macros
399Applying the defined actions
399Working with presets
401 Editing tempo and signature
402Background
402Tempo and signature display
404Editing tempo and signature
406Process Tempo (Cubase only)
406The Process Bars dialog (Cubase only)
407The Beat Calculator
408Merge Tempo From Tapping
408The Time Warp tool
413 The Project Browser
414Window Overview
415Editing tracks
419 Export Audio Mixdown
420Introduction
420Mixing down to audio files
422The available file formats
6
Table of Contents
427 Synchronization
428Background
428Synchronization signals
429Synchronizing the transport vs. synchronizing audio
430Making basic settings and connections
431Synchronization settings
436Machine Control
437Sync Options
438Working with VST System Link
438Preparations
440Activating VST System Link
443Application examples
445 Video
446Background
446Before you start
448Operations
451 ReWire
452Introduction
452Launching and quitting
453Activating ReWire channels
453Using the transport and tempo controls
454How the ReWire channels are handled in Cubase
454Routing MIDI via ReWire2
454Considerations and limitations
455 File handling
456Working with Projects
459Importing audio
462Exporting and importing OMF files (Cubase only)
464Exporting and importing standard MIDI files
465Exporting and importing MIDI loops
466Exporting and importing tracks (Cubase only)
467Other Import/Export functions
467Cleanup
468 Customizing
469Background
469Workspaces
471Using the Setup options
472Customizing track controls
473About preference presets (Cubase only)
474Appearance
475Applying track and event colors
478Where are the settings stored?
479 Key commands
480Introduction
480Setting up key commands
483Setting up tool modifier keys
484The default key commands
487 Part II: Score layout and printing
488 How the Score Editor works
489About this chapter
489Welcome!
489How the Score Editor operates
489MIDI notes vs. score notes
490Display Quantize
492Entering notes by hand vs. recording notes
493 The basics
494About this chapter
494Preparations
494Opening the Score Editor
494The project cursor
494Playing back and recording
495Page Mode
495Changing the Zoom factor
496The active staff
496Making page setup settings
496Designing your work space
498About the Score Editor context menus
498About dialogs in the Score Editor
499Setting key, clef and time signature
503Transposing instruments
503Printing from the Score Editor
503Exporting pages as image files
504Working order
504Force update
505 Transcribing MIDI recordings
506About this chapter
506About transcription
506Getting the parts ready
506Strategies: Preparing parts for score printout
507Staff settings
507Situations which require additional techniques
508Inserting Display Quantize changes
509Strategies: Adding Display Quantize changes
509The Explode function
510Using “Scores Notes To MIDI”
7
Table of Contents
511 Entering and editing notes
512About this chapter
512Score settings
513Note values and positions
514Adding and editing notes
516Selecting notes
517Moving notes
518Duplicating notes
518Cut, copy and paste
519Editing pitches of individual notes
520Changing the length of notes
521Splitting a note in two
521Working with the Display Quantize tool
521Split (piano) staves
522Strategies: Multiple staves
522Inserting and editing clefs, keys or time signatures
523Deleting notes
524 Staff settings
525About this chapter
525Staff settings
525Making settings
525Working with staff presets
526Staff names
526Key and clef
526Display Quantize and interpretation Options
529Display Transpose
529The Options tab
530The Polyphonic tab
530The Tablature tab
540 Additional note and rest formatting
541About this chapter
541Background: Note stems
541Setting stem direction
542Stem length
542Accidentals and enharmonic shift
543Changing the note head shape
544Other note details
545Coloring notes
545Copying settings between notes
545Handling beaming
549About tied notes
550Graphic moving of notes
551Cue notes
552Grace notes
552Tuplets
555 Working with symbols
556About this chapter
556Background: The different layers
557The Symbols Inspector
558Important! – Symbols, staves and voices
559Adding symbols to the score
565Selecting symbols
566Moving and duplicating symbols
569Changing length, size and shape
570Deleting symbols
570Copy and paste
570Alignment
570Symbol details
531 Polyphonic voicing
532About this chapter
532Background: Polyphonic voicing
533Setting up the voices
535Strategies: How many voices do I need?
535Entering notes into voices
535Checking which voice a note belongs to
536Moving notes between voices
537Handling rests
537Voices and Display Quantize
538Creating crossed voicings
539Automatic polyphonic voicing – Merge All Staves
539Converting voices to tracks – Extract Voices
Table of Contents
576 Working with chords
577About this chapter
577Inserting Chord symbols
579Global chord settings
580 Working with text
581About this chapter
581Adding and editing text symbols
583Different types of text
587Text functions
8
590 Working with layouts
591About this chapter
591Background: Layouts
591Creating a layout
591Opening a layout
591Layout operations
592Using layouts – an example
592Marker Track to Form
593 Working with MusicXML
594Introduction
595Importing and exporting MusicXML files
597 Designing your score: additional
techniques
598About this chapter
598Layout settings
599Staff size
599Hiding/showing objects
600Coloring notes
600Multiple rests
601Editing bar lines
602Creating upbeats
602Setting the number of bars across the page
603Moving bar lines
604Dragging staves
605Adding brackets and braces
606Auto Layout
607Reset Layout
608Breaking bar lines
617 The score and MIDI playback
618About this chapter
618Scores and the Arranger mode
618The MIDI Meaning function
619Dynamic crescendo symbols
620 Tips and Tricks
621Overview
621Useful editing techniques
622Frequently asked questions
624If you wish you had a faster computer
625 Index
609 Scoring for drums
610About this chapter
610Background: Drum maps in the Score Editor
610Setting up the drum map
612Setting up a staff for drum scoring
612Entering and editing notes
612Using “Single Line Drum Staff”
613 Creating tablature
614About this chapter
614Creating tablature automatically
615Creating tablature manually
615Tablature number appearance
615Editing
616Note head shape
9
Table of Contents
Part I:
Getting into the details
1
About this manual
Welcome!
This is the Operation Manual for Steinberg’s Cubase.
Here you will find detailed information about all the features and functions in the program.
About the program versions
The documentation covers two program versions; Cubase
and Cubase Studio, for two different operating systems or
“platforms”; Windows and Mac OS X.
Some features described in the documentation are only
applicable to the Cubase version. Whenever this is the
case this will be clearly indicated in the heading of the related subject.
Similarly, some features and settings are specific to one of
the platforms, Windows or Mac OS X. This is clearly
stated in the applicable cases. In other words:
Ö If nothing else is said, all descriptions and procedures in
the documentation are valid for both Cubase and Cubase
Studio, under Windows and Mac OS X.
The screenshots are taken from the Windows version of Cubase.
Key command conventions
Many of the default key commands in Cubase use modifier
keys, some of which are different depending on the operating system. For example, the default key command for
Undo is [Ctrl]-[Z] under Windows and [Command]-[Z] under Mac OS X.
When key commands with modifier keys are described in
this manual, they are shown with the Windows modifier
key first, in the following way:
[Win modifier key]/[Mac modifier key]-[key]
For example, [Ctrl]/[Command]-[Z] means “press [Ctrl]
under Windows or [Command] under Mac OS X, then
press [Z]”.
Similarly, [Alt]/[Option]-[X] means “press [Alt] under Windows or [Option] under Mac OS X, then press [X]”.
Ö Please note that this manual often refers to right-clicking, e.g. to open context menus. If you are using a Mac with
a single-button mouse, hold down [Ctrl] and click.
About this manual
12
2
VST Connections: Setting up input and
output busses
About this chapter
!
Cubase uses a system of input and output busses to transfer audio between the program and the audio hardware.
• Input busses let you route audio from the inputs on your audio
hardware into the program. This means that when you record
audio, you will always do this through one or several input
busses.
• Output busses let you route audio from the program to the
outputs on your audio hardware. When you play back audio,
you will always do this through one or several output busses.
As you can see, the input and output busses are vital when
you work with Cubase. This is why you find this chapter at
the beginning of the Operation Manual – once you understand the bus system and know how to set up the busses
properly, it will be easy to go on with recording, playing
back, mixing and doing surround work (Cubase only).
Setting up busses
Strategies
In Cubase, you can create any number of busses. A number of surround formats are supported (Cubase only). In
Cubase Studio, busses are in mono or stereo.
Ö The bus configuration is saved with the project –
therefore it is a good idea to add and set up the busses
you need and save these in a template project (see “Save
as Template” on page 457).
When you start working on new projects, you start from this template.
That way you get your standard bus configuration without having to make
new bus settings for each new project. If you need to work with different
bus configurations in different projects, you can either create several different templates or store your configurations as presets (see “Other bus
operations” on page 17). The templates can of course also contain other
settings that you regularly use – sample rate, record format, a basic track
layout, etc.
So, which type of busses do you need? This depends on
your audio hardware, your general audio setup (e.g. surround speaker setup) and what kind of projects you work
with.
Here’s an example:
Let’s say you are using audio hardware with eight analog
inputs and outputs and digital stereo connections (10 inputs and outputs all in all). Furthermore, you work with a
surround setup in 5.1 format (Cubase only). Here’s a list
of busses you may wish to add:
Input busses
• Most likely you need at least one stereo input bus assigned to
an analog input pair. This would let you record stereo material. If
you want to be able to record in stereo from other analog input
pairs as well, you add stereo input busses for these, too.
• Although you can record mono tracks from one side of a stereo input, it may be a good idea to add a dedicated mono input bus. This could be assigned to an analog input to which
you have connected a dedicated microphone pre-amp for example. Again, you can have several different mono busses.
• You probably want a dedicated stereo input bus assigned to
the digital stereo input, for digital transfers.
• Cubase only: If you want to transfer surround material directly
to a surround track, e.g. from surround-configured location recording equipment, you need an input bus in that surround
format – in this example, this would be a 5.1 input bus.
Output busses
• You probably want one or several stereo output busses for
monitoring and listening to stereo mixes.
• For digital transfers, you need a stereo bus assigned to the
digital stereo output as well.
• Cubase only: You need a surround bus in the format of your
speaker configuration (in this example, 5.1) assigned to the
correct outputs (which in turn are connected to the correct
speakers). You may want additional surround busses if you
tend to work in different surround formats.
Different busses can use the same inputs/outputs on
the audio hardware! For example, you may want a
stereo output bus assigned to the same outputs as
the front stereo channels in your surround bus – this
makes it easy to listen to stereo mixes without having
to reconnect your speakers.
14
VST Connections: Setting up input and output busses
Preparations
Before you set up busses, you should name the inputs and
outputs on your audio hardware. For example, if you are using a 5.1 surround speaker setup, you should name the
outputs according to which speaker they are connected to
(Left, Right, Center and so on).
The reason for this is compatibility – it makes it easier to
transfer projects between different computers and setups.
For example, if you move your project to another studio,
the audio hardware may be of a different model. But if
both you and the other studio owner have given your inputs and outputs names according to the surround setup
(rather than names based on the audio hardware model),
Cubase will automatically find the correct inputs and outputs for your busses and you will be able to play and
record without having to change the settings.
Use the Device Setup dialog to assign names to the inputs and outputs of your audio hardware:
1. Open the Device Setup dialog from the Devices menu.
2. Make sure that the correct driver for your audio hard-
ware is selected on the VST Audio System page, so that
the audio card is listed in the Devices list.
3. Select your audio card in the list.
The available input and output ports on your audio hardware are listed on
the right.
4. To rename a port, click its name in the “Show as” column and enter a new name.
• If needed, you can also disable ports by deactivating
them in the “Visible” column.
Disabled ports will not show up in the VST Connections window when
you are making bus settings. If you attempt to disable a port that is used
by a bus, you will be asked whether this is really what you want – note
that this will remove the port from the bus!
5. Click OK to close the Device Setup dialog.
Mac OS X only: Retrieving channel names
For some audio cards, you can automatically retrieve the
ASIO channel names for the ports of your audio hardware:
1. Open the Device Setup dialog via the Devices menu.
2. On the VST Audio System page, select your audio
card on the “ASIO driver” pop up menu.
3. In the Devices list to the left, select your audio card.
The available settings are displayed.
4. In the settings section to the right, click the Control
Panel button.
This opens the control panel for your audio hardware.
5. Activate the “Use CoreAudio Channel Names” option.
6. When you now open the VST Connections window to
set up the busses in your system, you will find that the port
names in the Device Port column correspond to the names
that are used by the CoreAudio driver.
Ö If you want to use the project later on with an earlier
version of Cubase, you will have to re-assign the port connections in the VST Connections window (see below).
Mac OS X only: Port selection and activation
On the settings page for your audio card (opened via the
Device Setup dialog, see above), you can specify which
input and which output port should be active. This allows
you, for example, to use the Microphone input instead of
the Line input or even to deactivate the audio card input or
output completely, if required.
Ö This function is only available for Built-In Audio, standard USB audio devices and a certain number of other audio cards (e.g. Pinnacle CineWave).
Ö If you open a project created on another computer and
the port names do not match (or the port configuration is
not the same – e.g. the project is created on a system with
multi-channel i/o and you open it on a stereo in/out system),
the Pending Connections dialog will appear.
This allows you to manually re-route ports used in the project to ports
available in your system.
VST Connections: Setting up input and output busses
15
The VST Connections window
You add and set up busses in the VST Connections window, opened from the Devices menu.
This window contains the following tabs:
• The Inputs and Outputs tabs are for viewing input busses or
output busses, respectively.
• The Group/FX tab allows you to create Group and FX channels/tracks and to make output assignments for these. See
“Setting up Group and FX channels” on page 20.
• The External FX tab (Cubase only) allows you to create effect
send/return busses for connecting external effects which can
then be selected via the effect pop-up menus from inside the
program. See “External instruments/effects (Cubase only)” on
page 20 and “Using external effects (Cubase only)” on page
163 for further information.
• The External Instruments tab (Cubase only) allows you to create input/output busses for connecting external instruments.
See “External instruments/effects (Cubase only)” on page 20
and the chapter “VST Instruments and Instrument tracks” on
page 169 for further information.
• The Studio tab (Cubase only) is where you enable and configure the Control Room. See the chapter “Control Room (Cu-
base only)” on page 135.
For the time being, we shall focus on how to set up input
and output busses.
Depending on which tab you have selected, Inputs or Outputs, the window lists the current input or output busses,
with the following columns:
ColumnDescription
Bus NameLists the busses. You can select busses and rename
SpeakersIndicates the speaker configuration (mono, stereo, sur-
Audio DeviceThis shows the currently selected ASIO driver.
them by clicking on them in this column.
round formats) of each bus.
ColumnDescription
Device PortWhen you have “opened” a bus (by clicking its + button
ClickYou can route the click to a specific output bus, regard-
in the Bus Name column) this column shows which physical inputs/outputs on your audio hardware are used by
the bus.
less of the actual Control Room output, or indeed when
the Control Room is disabled.
Adding a bus
1. Click the Inputs or Outputs tab depending on which
you want to add.
2. Click the Add Bus button.
A dialog appears.
3. Select the desired (channel) configuration.
The pop-up menu contains Mono and Stereo options as well as several
surround formats (Cubase only). To select another surround format, use
the “More…” submenu.
• Alternatively you can right-click in the VST Connections
window and add a bus in the desired format directly from
the context menu.
The new bus appears with the ports visible.
4. Click in the Device Port column to select an input/output port for a channel in the bus.
The pop-up menu that appears lists the ports with the names you have assigned in the Device Setup dialog. Repeat this for all channels in the bus.
Adding a child bus (Cubase only)
A surround bus is essentially a set of mono channels –
6 channels in the case of the 5.1 format. If you have a
mono track in the project, you can route it to a separate
speaker channel in the bus (or route it to the parent surround bus and use the SurroundPanner to position it in the
surround image). But what if you have a stereo track that
you simply want to route to a stereo channel pair within the
bus (Left and Right or Left Surround and Right Surround
for example)? For this you need to create a child bus.
16
VST Connections: Setting up input and output busses
1. Select the surround bus in the list and right-click on it.
!
A pop-up menu appears.
2. Select a channel configuration from the “Add Child
Bus” submenu.
As you can see, you can create stereo child busses (routed to various
speaker channel pairs in the surround bus) or other surround bus formats
(with fewer channels than the “parent bus”).
The child bus you created will be available for direct routing in the mixer. It is a part of the parent surround bus,
which means there will be no separate channel strip for it.
Although child busses are probably most useful in output
busses, you can also create child busses within a surround input bus – for example if you want to record a stereo channel pair (e.g. front left-right) in the surround bus
to a separate stereo track.
Setting the Main Mix bus (the default output bus)
The Main Mix is the output bus that each new channel in
the mixer will be assigned to when it is created.
Any of the output busses in the VST Connections window
can be the default output bus. By right-clicking on the
name of an output bus, you can set this bus as the Main
Mix bus.
When creating new audio, group or FX channels in the
mixer, they will automatically be routed to the default bus.
The default bus is indicated by an orange colored
speaker icon next to its name in the VST Connections window.
Presets
On the Inputs and Outputs tabs, you will find a Presets
menu. Here you can find three different types of presets:
• A number of standard bus configurations.
• Automatically created presets tailored to your specific
hardware configuration.
On each startup, Cubase will analyze the physical inputs and outputs
provided by your audio hardware and create a number of hardwaredependent presets with the following possible configurations:
• one stereo bus
• various combinations of stereo and mono busses
• a number of mono busses
• Cubase only: one 5.1 bus (if you have 6 or more inputs)
• Cubase only: various combinations of 5.1 and stereo busses
(if you have 6 or more inputs)
• Cubase only: various combinations of 5.1 and mono busses (if
you have 6 or more inputs)
• You can also save your own setups as presets.
To store the current configuration as a preset, click the Store “+” button
and enter a name for the preset. You can then select the stored configuration directly from the Presets pop-up menu at any time. To remove a
stored preset, select it and click the “-” button.
Other bus operations
• To change the port assignment for a bus, you proceed
as when you added it: Make sure the channels are visible
(by clicking the “+” button next to the bus, or by clicking
the “+ All” button at the top of the window) and click in the
Device Port column to select ports.
• To remove a bus you do not need, select it in the list,
right-click and select “Remove Bus” from the pop-up
menu, or press [Backspace].
Setting the default output bus in the VST Connections window.
17
VST Connections: Setting up input and output busses
Using the busses
!
This section describes briefly how to use the input and output busses you have created. For details refer to the chapters “Recording” on page 66 and “The mixer” on page 109.
Routing
When you play back an audio track (or any other audio-related channel in the mixer – VST Instrument channels,
ReWire channels, etc.), you route it to an output bus. In
the same way, when you record on an audio track you select from which input bus the audio should be sent.
• You can select input and output busses in the Inspector, using the Input and Output Routing pop-up menus.
• You can also select busses in the Routing panel at the
top of each channel strip in the mixer.
Ö If the Routing panel is not shown, click the Show Routing button in the extended common panel or open the
Mixer context menu and select “Show Routing View” from
the Window submenu (see “Normal vs. Extended channel
strips” on page 112).
Ö For audio-related channel types other than audio track
channels (i.e. VST Instrument channels, ReWire channels,
Group channels and FX channels), only the Output Routing pop-up menu is available.
• If you press [Shift]-[Alt]/[Option] and select an input or
output bus in the Track list or the Mixer Routing View (Cubase only), it will be chosen for all selected channels.
This makes it easy to quickly set several channels to use the same input
or output. Similarly, if you press [Shift] and select a bus, the following selected channels will be set to use incrementing busses – the second selected channel will use the second bus, the third will use the third bus
and so on.
When selecting an input bus for a track you can only select busses that correspond to the track’s channel configuration. Here are the details for input busses:
• Mono tracks can be routed to mono input busses or individual
channels within a stereo or surround input bus (Cubase only).
• Mono tracks can be routed to External Inputs configured on
the Studio tab of the VST Connections window. These can be
mono or individual channels within a stereo or surround bus
(Cubase only). They can also be routed to the Talkback input.
• Mono tracks can also be routed to mono output busses, mono
group output busses or mono FX channel output busses, provided that these will not lead to feedback.
• Stereo tracks can be routed to mono input busses, stereo input busses or stereo child busses within a surround bus (Cubase only).
• Stereo tracks can be routed to External Inputs that are configured in the Studio tab of the VST Connections window. These
can be mono input busses or stereo input busses. They can
also be routed to the Talkback input.
• Stereo tracks can also be routed to mono or stereo output
busses, mono or stereo group output busses and mono or
stereo FX channel output busses, provided that these will not
lead to feedback.
• Surround tracks can be routed to surround input busses (Cubase only).
• Surround tracks can be routed to External Inputs that are configured in the Studio tab of the VST Connections window, provided that these have the same input configuration.
• Surround tracks can also be routed to output busses, provided
that these have the same input configuration or will not lead to
feedback.
For output busses any assignment is possible.
Assignments that will lead to feedback are not available in the pop-up menu. This is also indicated by a
one-way symbol.
To disconnect input or output bus assignments, select
“No Bus” from the corresponding pop-up menu.
18
VST Connections: Setting up input and output busses
Viewing the busses in the mixer
Hide Input Channels
(Cubase only)
Hide Output Channels
!
In the mixer, busses are represented by input and output
channels (shown in separate panes to the left and right in
the window). You can show or hide these independently
by clicking the Hide Input Channels and Hide Output
Channels buttons in the common panel:
Ö In Cubase Studio, only the output busses are visible in
the mixer!
The input busses you have created in the VST Connections window are
available for selection on the Input Routing pop-up menus, but you will
not be able to make any specific mixer settings for the input busses.
Input channels (Cubase only)
Here you can do the following:
• Check and adjust the recording level using the Input
Gain knobs and/or the level fader.
See “Setting input levels” on page 71.
• Change the phase of the input signal.
This is done by clicking the Input Phase button next to the Input Gain
control.
• Add effects or EQ to the input bus.
See “Recording with effects (Cubase only)” on page 78 for an example
of how to add effects to your recording at the input bus stage.
The settings you make in the input channel strip will
be a permanent part of the recorded audio file!
Output channels
The output channels are shown to the right in the mixer.
Here you can do the following:
• Adjust the output level for the busses with the faders.
• Open the Channel Settings window to add effects or EQ.
These will affect the whole bus. Examples of effects you may want to add
here include compressors, limiters and dithering. See the chapter “Audio
effects” on page 150.
The input channels are shown to the left in the mixer. As
you can see, each input channel resembles a regular mixer
channel strip.
19
VST Connections: Setting up input and output busses
Setting up Group and FX channels
!
The Group/FX tab in the VST Connections window shows
all Group channels and FX channels in your project. You
can create new Group or FX channels by clicking the corresponding Add button. This is the same as creating Group
channel tracks or FX channel tracks in the Project window
(see “Using group channels” on page 127 and the chapter
“Audio effects” on page 150).
However, the VST Connections window also allows you to
create child busses for Group and FX channels (Cubase
only). This is useful e.g. if you have Group or FX channels in
surround format and want to route stereo channels to specific channel pairs in these.
To create a child bus for a Group channel or FX channel in
surround format, proceed as follows:
1. Open the VST Connection window and select the
Groups/FX tab.
2. Select the Group or FX channel in the list and rightclick it.
3. Select a channel configuration from the “Add Child
Bus” submenu.
The child bus you created will be available for direct routing in the mixer. It is a part of the parent Group or FX
channel, which means there will be no separate channel
strip for it.
About monitoring
By default, monitoring is done via the Control Room (see
the chapter “Control Room (Cubase only)” on page 135).
When the Control Room is disabled on the Studio tab of
the VST Connections window, the Main Mix bus (see “Set-
ting the Main Mix bus (the default output bus)” on page 17)
will be used for monitoring.
Ö In Cubase Studio, the Main Mix bus is always used for
monitoring.
Setting the monitoring level
When you are using the Control Room for monitoring, this
is set in the Control Room Mixer, see “The Control Room
Mixer” on page 141. When you are monitoring via the Main
Mix bus, you can adjust the monitoring level in the regular
Project Mixer.
External instruments/effects
(Cubase only)
Cubase supports the integration of external effect devices
and external instruments, e.g. hardware synthesizers, into
the sequencer signal flow.
You can use the External Instruments tab and the External
FX tab in the VST Connections window to define the
necessary send and return ports and access the instruments/effects through the VST Instruments window.
External instruments and effects are indicated by an
“x” icon in the list next to their names in the respective pop-up menus.
Requirements
• To use external effects, you need audio hardware with
multiple inputs and outputs. To use external instruments, a
MIDI interface must be connected to your computer.
An external effect will require at least one input and one output (or input/
output pairs for stereo effects) in addition to the input/output ports you
use for recording and monitoring.
• As always, audio hardware with low-latency drivers is a
good thing to have.
Cubase will compensate for the input/output latency and ensure that the
audio processed through external effects is not shifted in time.
Connecting the external effect/instrument
To set up an external effect or instrument, proceed as follows:
1. Connect an unused output pair on your audio hard-
ware to the input pair on your external hardware device.
In this example, we assume that the hardware device has stereo inputs
and outputs.
20
VST Connections: Setting up input and output busses
2. Connect an unused input pair on your audio hardware
!
to the output pair on your hardware device.
Please note that it is possible to select input/output
ports for external effects/instruments that are already
used (i.e. that have been selected as inputs/outputs
in the VST Connections window). If you select a
used port for an external effect/instrument, the existing port assignment will be broken. Note that you will
not get a warning message!
Once the external device is connected to the audio hardware of your computer, you have to set up the input/output busses in Cubase.
Setting up external effects
1. Open the VST Connections window from the Devices
menu.
2. Open the External FX tab and click “Add External FX”.
3. In the dialog that appears, enter a name for the exter-
nal effect and specify the Send and Return configurations.
Depending on the type of effect, you can specify mono, stereo or surround
configurations.
• You also need a MIDI device that corresponds with the
external effect. You can then click the Associate MIDI Device button to connect the two.
You can use the MIDI Device Manager to create a new MIDI device for
the effect. Note that delay compensation will only be applied for the effect when you use MIDI devices. For information about the MIDI Device
Manager and user device panels see the chapter “Using MIDI devices”
on page 314.
4. Click OK. This adds a new External FX bus.
5. Click in the Device Port column for the Send Bus
“Left” and “Right” ports and select the outputs on your audio hardware.
6. Click in the Device Port column for the Return Bus
“Left” and “Right” ports and select the inputs on your audio hardware.
7. If you like, make additional settings for the bus.
These are found in the columns to the right. Note that you can adjust
these while actually using the external effect – which may be easier as
you can hear the result. The following options are available:
SettingDescription
DelayIf your hardware effect device has an inherent delay (la-
Send GainAllows you to adjust the level of the signal being sent to
Return GainAllows you to adjust the level of the signal coming in from
MIDI DeviceWhen you click in this column, a pop-up menu opens
UsedWhenever you insert an external effect into an audio
tency), you should enter this value here, as it allows Cubase to compensate for that delay during playback. You
can also let the delay value be determined by the program: Right-click in the Delay column for the effect and
select “Check User Delay”. Note that you do not have to
take the latency of the audio hardware into account – this
is handled automatically by the program.
the external effect.
the external effect.
Note however that excessive output levels from an external
effect device may cause clipping in the audio hardware.
The Return Gain setting cannot be used to compensate
for this – you have to lower the output level on the effect
device instead.
where you can disconnect the effect from the associated
MIDI device, select a MIDI device, create a new device or
open the MIDI Device Manager to edit the MIDI device.
When Studio Manager 2 is installed, you may also select
an OPT editor to access your external effect.
track, this column shows a checkmark (“x”) to indicate
that the effect is being used.
8. When you are done, close the VST Connections win-
dow.
Ö Note that external device ports are exclusive, see
“Connecting the external effect/instrument” on page 20.
How to use the external effect
If you now click an insert effect slot for any channel, you
will find the new external FX bus listed on the “External
Plug-ins” submenu.
When you select it, the following happens:
• The external FX bus is loaded into the effect slot just like a
regular effect plug-in.
• The audio signal from the channel is sent to the outputs on the
audio hardware, through your external effect device and back
to the program via the inputs on the audio hardware.
21
VST Connections: Setting up input and output busses
• A parameter window appears, showing the Delay, Send Gain
Measure Effect’s Loop
Delay button
and Return Gain settings for the external FX bus. You can adjust these as necessary while playing back. The parameter
window also provides the “Measure Effect’s Loop Delay for
Delay Compensation” button. This is the same function as the
“Check User Delay” option in the VST Connections window. It
provides Cubase with a Delay value to be used for delay compensation. When you have defined a MIDI device for the effect, the corresponding Device window will be opened. When
Studio Manager 2 is installed, and you have set up a corresponding OPT editor, this OPT editor will be displayed.
The default parameter window for an external effect
Like any effect, you can use the external FX bus as an insert effect or as a send effect (an insert effect on an FX
channel track). You can deactivate or bypass the external
effect with the usual controls.
Setting up external instruments
1. Open the VST Connections window from the Devices
menu.
2. Open the External Instrument tab and click “Add External Instrument”.
• You also need a MIDI device that corresponds with the
external instrument. You can then click the Associate MIDI
Device button to connect the two.
You can use the MIDI Device Manager to create a new MIDI device. For
information about the MIDI Device Manager and user device panels, see
the chapter “Using MIDI devices” on page 314.
4. Click OK.
This adds a new external instrument bus.
5. Click in the Device Port column for the “Left” and
“Right” ports of the Return Bus and select the inputs on
your audio hardware to which you connected the external
instrument.
6. If you like, make additional settings for the bus.
These are found in the columns to the right. Note that you can adjust
these while actually using the external instrument – which may be easier
as you can hear the result. The following options are available:
SettingDescription
DelayIf your hardware device has an inherent delay (latency),
Return GainAllows you to adjust the level of the signal coming in from
MIDI DeviceWhen you click in this column, a pop-up menu opens
UsedWhenever you insert the external instrument into a VST
you should enter this value here. This allows Cubase to
compensate for that delay during playback. Note that you
do not have to take the latency of the audio hardware into
account – this is handled automatically by the program.
the external instrument.
Note however that excessive output levels from an external device may cause clipping in the audio hardware. The
Return Gain setting cannot be used to compensate for
this – you have to lower the output level on the device instead.
where you can disconnect the instrument from the associated MIDI device, select a MIDI device, create a new
device or open the MIDI Device Manager to edit the MIDI
device.
When Studio Manager 2 is installed, you may also select
an OPT editor to access your external instrument.
Instrument slot, this column shows a checkmark (“x”) to
indicate that the instrument is being used.
3. In the dialog that appears, enter a name for the external instrument and specify the number of required mono
and/or stereo returns.
Depending on the type of instrument, a specific number of mono and/or
stereo return channels is required.
VST Connections: Setting up input and output busses
7. When you are done, close the VST Connections win-
dow.
Ö Note that external device ports are exclusive, see
“Connecting the external effect/instrument” on page 20.
22
How to use the external instrument
!
!
Once you have set up the external instrument in the VST
Connections window, you can use it as a VST Instrument.
Open the VST Instruments window and click on an empty
instrument slot. On the Instrument pop-up menu, your external instrument is listed on the External Plug-ins submenu:
When you select the external instrument in the VST Instruments window, the following happens:
• A parameter window for the external device is opened automatically. This may either be the Device window, allowing you
to create a generic device panel, an OPT editor window or a
default editor. For information about the Device window, the
MIDI Device Manager and User device panels, see the chapter “Using MIDI devices” on page 314.
To send MIDI notes to the external instrument, open
the Output Routing pop-up menu in the Inspector for
the corresponding MIDI track and select the MIDI
device to which the external instrument is connected.
This ensures use of delay compensation. The instrument will now play any MIDI notes it receives from
this track and return them to Cubase through the return channel(s) you have set up.
The external instrument will behave like any other VST Instrument in Cubase.
About the Favorites buttons
In the VST Connections window, both the External FX tab
and the External Instruments tab feature a Favorites button.
Favorites are device configurations that you can recall at
any time, like a library of external devices that are not constantly connected to your computer. They also allow you
to save different configurations for the same device, e.g. a
multi-effect board or an effect that provides both a mono
and a stereo mode.
To save a device configuration as a favorite, proceed as
follows:
• When you have added a new device in the VST Connections window, select it in the Bus Name column and
click the Favorites button.
A context menu is displayed showing an option to add the selected effect or instrument to the Favorites.
• You can recall the stored configuration at any time by
clicking the Favorites button and selecting the device
name from the context menu.
About the “plug-in could not be found”
message
When you open a project that uses an external effect/instrument, you may get a “plug-in could not be found” message. This will happen when you remove an external device
from the VST Connections window although it is used in a
saved project, or when transferring a project to another
computer on which the external device is not defined. You
may also see this message when opening a project created with an earlier version of Cubase.
In the VST Connections window, the broken connection
to the external device is indicated by an icon in the Bus
Name column.
To reestablish the broken connection to the external device, simply right-click the entry for the device in the Bus
Name column and select “Connect External Effect”. The
icon is removed, and you can use the external device
within your project as before.
Note that busses set up for external effects or external instruments are saved “globally”, i.e. for your particular computer setup.
The Favorites button on the External FX tab
23
VST Connections: Setting up input and output busses
Freezing external effects/instruments
!
Just as when working with regular VST instruments and
effects, you can also choose to freeze external effects and
instruments. The general procedure is described in detail
in the chapters “Audio effects” on page 150 and “VST In-
struments and Instrument tracks” on page 169.
Note that you have to perform Freeze in realtime. Otherwise external effects will not be taken into account.
When freezing external instruments or effects, you can adjust the corresponding tail value in the Freeze Channel
Options dialog:
• Use the arrow buttons next to the Tail Size value field to
set the desired Tail length, i.e. the range after the part
boundary that should also be included for the freeze. You
can also click directly in the value field and enter the desired value manually (the maximum value being 60s).
• When the Tail Size is set to 0s (default), the freezing will
only take into account the data within the Part boundaries.
24
VST Connections: Setting up input and output busses
3
The Project window
Background
The Project window is the main window in Cubase. This
provides you with an overview of the project, allowing you
to navigate and perform large scale editing. Each project
has one Project window.
About tracks
The Project window is divided vertically into tracks, with a
timeline running horizontally from left to right. The following track types are available:
Track typeDescription
AudioFor recording and playing back audio events and audio
FolderFolder tracks function as containers for other tracks,
FX ChannelFX channel tracks are used for adding send effects. Each
Group
Channel
InstrumentThis allows you to create a track for a dedicated instru-
parts. Each audio track has a corresponding audio channel in the mixer.
An audio track can have any number of automation tracks
for automating mixer channel parameters, effect settings,
etc.
making it easier to organize and manage the track structure. They also allow you to edit several tracks at the
same time. See “Folder tracks” on page 53.
FX channel can contain up to eight effect processors – by
routing effect sends from an audio channel to an FX channel, you send audio from the audio channel to the effect(s)
on the FX channel. Each FX channel has a corresponding
channel strip in the mixer – in essence an effect return
channel. See the chapter “Audio effects” on page 150.
All FX channel tracks are automatically placed in a special
FX channel folder in the Track list, for easy management.
An FX channel can also have any number of automation
tracks for automating mixer channel parameters, effect settings, etc.
By routing several audio channels to a Group channel,
you can submix them, apply the same effects to them,
etc. (see “Using group channels” on page 127).
A Group channel track contains no events as such, but
displays settings and automation curves for the corresponding Group channel. Each Group channel track has
a corresponding channel strip in the mixer. In the Project
window, Group channels are organized as tracks in a
special Group Tracks folder.
ment, making e.g. VST instrument handling easier and
more intuitive. Instrument tracks have a corresponding
channel strip in the mixer. Each instrument track can have
any number of automation tracks in the Project window.
However, Volume and Pan are automated from within the
mixer. It is possible to edit Instrument tracks directly in
the Project window, using the Edit In-Place function (see
“The In-Place Editor” on page 356). For more information
on instrument tracks, see the chapter “VST Instruments
and Instrument tracks” on page 169.
Track typeDescription
MIDIFor recording and playing back MIDI parts. Each MIDI
MarkerThe Marker track displays markers which can be moved
ArrangerThe Arranger track is used for arranging your project, by
Ruler
(Cubase only)
SignatureTime signature events can be added and edited on the
TempoYou can create tempo changes within a project using the
TransposeThe Transpose track allows you to set global key
VideoFor playing back video events. A project can have only
track has a corresponding MIDI channel strip in the mixer.
It is possible to edit MIDI tracks directly in the Project
window, using the Edit In-Place function (see “The In-
Place Editor” on page 356).
A MIDI track can have any number of automation tracks
for automating mixer channel parameters, insert and send
effect settings etc.
and renamed directly in the Project window (see “Mark-
ers” on page 54). A project can have only one marker
track.
marking out sections in the project and determining in
which order they should be played back. See the chapter
“The Arranger track” on page 96.
Ruler tracks contain additional rulers, displaying the timeline from left to right. You can use any number of ruler
tracks, each with a different display format if you wish.
See “The ruler” on page 33 for more information about
the ruler and the display formats.
signature track, or in the Tempo Track Editor window. A
project can have only one signature track. See the chapter “Editing tempo and signature” on page 401 for details.
tempo track. A project can have only one tempo track.
See the chapter “Editing tempo and signature” on page
401 for details.
changes. A project can have only one transpose track.
See the chapter “The Transpose functions” on page 103.
one video track.
About parts and events
The tracks in the Project window contain parts and/or
events. Events are the basic building blocks in Cubase.
Different event types are handled differently in the Project
window:
• Video events and automation events (curve points) are always
viewed and rearranged directly in the Project window.
• MIDI events can always be found in MIDI parts, which are containers for one or more MIDI events. MIDI parts are rearranged
and manipulated in the Project window. To edit the individual
MIDI events in a part, you have to open the part in a MIDI editor (see “The MIDI editors” on page 337).
26
The Project window
• Audio events can be displayed and edited directly in the Project
window, but you can also work with audio parts containing several events. This is useful if you have a number of events which
you want to treat as one unit in the project. Audio parts also
contain information about the time position in the project.
An audio event and an audio part
Audio handling
When you work with audio files, it is crucial to understand
how audio is handled in Cubase:
When you edit or process audio in the Project window,
you always work with an audio clip that is automatically
created on import or during recording. This audio clip refers to an audio file on the hard disk that itself remains untouched. This means, that audio editing and processing is
“non-destructive”, in the sense that you can always undo
changes or revert to the original versions.
An audio clip does not necessarily refer to just one original audio file! If you apply e.g. some processing to a specific section of an audio clip, this will create a new audio
file containing only this section. The processing will then
be applied to the new audio file only, leaving the original
audio file unchanged. Finally, the audio clip is automatically adjusted, so that it refers both to the original file and
to the new, processed file. During playback, the program
will switch between the original file and the processed file
at the correct positions. You will hear this as a single recording, with processing applied to one section only. This
feature makes it possible to undo processing at a later
stage, and to apply different processing to different audio
clips that refer to the same original file.
An audio event is the object that you place on a time position in Cubase. If you make copies of an audio event and
move them to different positions in the project, they will
still all refer to the same audio clip. Furthermore, each audio event has an Offset value and a Length value. These
determine at which positions in the clip the event will start
and end, i.e. which section of the audio clip will be played
back by the audio event. For example, if you resize the audio event, you will just change its start and/or end position
in the audio clip – the clip itself will not be affected.
An audio region is a section within a clip with a length
value, a start time, and a snap point. Audio regions are
shown in the pool and are best created and edited in the
Sample Editor.
Ö If you want to use one audio file in different contexts, or
if you want to create several loops from one audio file, you
should convert the corresponding regions of the audio clip
to events and bounce them into separate audio files. This is
necessary since different events that refer to the same clip
access the same clip information.
27
The Project window
Window Overview
Project
overview
The event display, showing audio parts and events, MIDI parts, automation, markers, etc.
Inspector
Ruler
Info line
Toolbar
The Track list with various track types
Mute &
Solo
Record Enable &
Monitor
Track
name
Lane Display
Type
Show/hide
automation
Indicates whether effect sends, EQ or insert effects are activated for
the track. Click to bypass.
Musical/Linear
Time Base
Lock track
Automation Read/Write Edit channel settings
Track
activity
indicator
Freeze Audio
Track
Automation Read/Write
Automation parameter
(click to select parameter)
Append automation track
Mute
Lock track
Record Enable &
Monitor
Track
name
MIDI
Output
BankPatch MIDI channel
Drum map, Lock track and Lane display type
Automation
Read/Write
Edit channel
settings
Mute &
Solo
Effect sends/insert effects
indicators and
bypass
Edit
In-Place
Track
activity
indicator
The Track list
The Track list displays all the tracks used in a project. It
contains name fields and settings for the tracks. Different
track types have different controls in the Track list. To see
all the controls you may have to resize the track in the Track
list (see “Resizing tracks in the Track list” on page 35).
• The Track list area for an audio track:
• The Track list area for an automation track (opened by
clicking the Show/Hide Automation button on a track):
• The Track list area for a MIDI track:
28
The Project window
The Inspector
The area to the left of the Track list is called the Inspector.
This shows additional controls and parameters for the track
you have selected in the Track list. If several tracks are selected (see “Handling tracks” on page 38), the Inspector
shows the setting for the first (topmost) selected track.
To hide or show the Inspector, click the Inspector icon in
the toolbar.
The Inspector icon
• For most track classes, the Inspector is divided into a
number of sections, each containing different controls for
the track. You can hide or show sections by clicking on
their names.
Clicking the name for a hidden section brings it into view and hides the
other sections. [Ctrl]/[Command]-clicking the section name allows you
to hide or show a section without affecting the other sections. [Alt]/[Option]-clicking a section name shows or hides all sections in the Inspector.
• You can also use key commands to show different In-
spector sections.
These are set up in the Key Commands dialog, see “Setting up key com-
mands” on page 480.
Ö Hiding a section does not affect its functionality.
For example, if you have set up a track parameter or activated an effect,
your settings will still be active even if you hide the respective Inspector
section.
Which sections are available in the Inspector depends on
the selected track.
Ö Please note that not all Inspector tabs are shown by
default. You can show/hide Inspector sections by rightclicking on an Inspector tab and activating/deactivating
the desired option(s).
Make sure you right-click on an inspector tab and not on the empty area
below the Inspector, as this will open the Quick context menu instead.
The Inspector Setup context menu
Inspector sections
The Inspector contains the controls that can be found on
the Track list, plus some additional buttons and parameters. In the table below, these additional settings and the
different sections are listed. Which sections are available
for which track type is described in the following sections.
ParameterDescription
Auto Fades
Settings
button
Edit Channel
settings
VolumeUse this to adjust the level for the track. Changing this
PanUse this to adjust the panning of the track. As with the
DelayThis adjusts the playback timing of the audio track. Posi-
Input RoutingThis lets you specify which Input bus or MIDI input the
Opens a dialog in which you can make separate Auto
Fade settings for the audio track. See “Making Auto Fade
settings for a separate track” on page 95.
Opens the Channel Settings window for the track, allowing you to view and adjust effect and EQ settings, etc.
See “Using Channel Settings” on page 122.
setting will move the track’s fader in the mixer window,
and vice versa. See “Setting volume in the mixer” on page
117 to learn more about setting levels.
Volume setting, this corresponds to the Pan setting in the
mixer.
tive values delay the playback while negative values
cause the track to play earlier. The values are set in milliseconds.
track should use (see “Setting up busses” on page 14 for
information about Input busses).
29
The Project window
ParameterDescription
Output
Routing
Inserts section Allows you to add insert effects to the track, see the
Equalizers
section
Equalizer
Curve section
Sends section Allows you to route an audio track to one or several FX
Studio Sends
(Cubase only)
Surround Pan
(Cubase only)
Channel
section
Notepad
section
User Panel
(Cubase only)
Quick Controls Here you can configure quick controls, e.g. to use remote
Here you decide to which output the track should be
routed. For audio tracks you select an output bus (see
“Setting up busses” on page 14) or Group channel, for
MIDI tracks you select a MIDI output and for Instrument
tracks, you select the Instrument to which it is routed.
chapters “Audio effects” on page 150 and “MIDI realtime
parameters and effects” on page 305. The Edit button at
the top of the section opens the control panels for the
added insert effects.
Lets you adjust the EQs for the track. You can have up to
four bands of EQ for each track, see “Making EQ set-
tings” on page 123. The Edit button at the top of the sec-
tion opens the Channel Settings window for the track.
Lets you adjust the EQs for the track graphically, by click-
ing and dragging points in a curve display.
channels (up to eight), see the chapter “Audio effects” on
page 150. For MIDI tracks, this is where you assign MIDI
send effects. The Edit button at the top of the section
opens the control panel for the first effect in each FX
channel.
The Studio Sends are used to route cue mixes to Control
Room Studios. For a detailed description of Studios and
Studio Sends, see the chapter “Control Room (Cubase
only)” on page 135.
When the SurroundPanner is used for a track, this is also
available in the Inspector. For further information, see
“Using the SurroundPanner” on page 184.
Shows a duplicate of the corresponding mixer channel
strip. The channel overview strip to the left lets you activate and deactivate insert effects, EQs and sends.
This is a standard text notepad, allowing you to jot down
notes about the track.
If you have entered any notes about a track, the icon next
to the “Notepad” heading will light up to indicate this.
Moving the pointer over the icon will display the Notepad
text in a tooltip.
Here you can display device panels, e.g. for external MIDI
devices, audio track panels or VST insert effect panels.
For information on how to create or import MIDI device
and user panels, see the separate PDF document “MIDI
Devices”.
devices. See the chapter “Track Quick Controls” on
page 295.
Audio tracks
For audio tracks, all settings and sections listed above are
available.
Instrument tracks
As explained in the chapter “VST Instruments and Instru-
ment tracks” on page 169, the Inspector for an Instrument
track shows some of the sections you would find for VST
Instrument channels and MIDI tracks.
MIDI tracks
When a MIDI track is selected, the Inspector contains a
number of additional sections and parameters, affecting the
MIDI events in realtime (e.g. on playback). Which sections
are available for MIDI tracks is described in the chapter
“MIDI realtime parameters and effects” on page 305.
Arranger track
For the Arranger track, the Inspector displays the lists of
available Arranger chains and Arranger events. See “The
Arranger track” on page 96 for details.
Folder tracks
When a folder track is selected, the Inspector shows the
folder and its underlying tracks, much like a folder structure in the Windows Explorer or Mac OS X Finder.
Ö You can click one of the tracks shown under the folder
in the Inspector to have the Inspector show the settings
for that track. This way, you don’t have to “open” a folder
track to make settings for tracks within it.
FX channel tracks
When an FX channel track is selected, the following controls and sections are available:
• Edit button
• Volume control
•Pan control
• Output Routing pop-up menu
• Inserts section
• Equalizers section
• Equalizer Curve section
• Sends section
• Studio Sends section (Cubase only)
• Surround Pan section (Cubase only)
• Channel section
• Notepad section
30
The Project window
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