Steinberg Cubase AI - 8.0, Cubase Artist - 8.0, Cubase LE - 8.0, Cubase Elements - 8.0, Cubase 8.0 Plug-in Reference

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Plug-in Reference

Cristina Bachmann, Heiko Bischoff, Christina Kaboth, Insa Mingers, Sabine Pfeifer,

Quarshie, Benjamin Schütte

Kevin This PDF provides improved access for vision-impaired users. Please note that due to the

complexity and number of images in this document, it is not possible to include text descriptions of images.

The information in this document is subject to change without notice and does not represent a commitment on the part of Steinberg Media Technologies GmbH. The software described by this document is subject to a License Agreement and may not be copied to other media except as specifically allowed in the License Agreement. No part of this publication may be copied, reproduced, or otherwise transmitted or recorded, for any purpose, without prior written permission by Steinberg Media Technologies GmbH. Registered licensees of the product described herein may print one copy of this document for their personal use.

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

4 Included Effect Plug-ins

4 Delay Plug-ins 10 Distortion Plug-ins 38 Dynamics Plug-ins 64 EQ Plug-ins 75 Filter Plug-ins 83 Mastering Plug-ins 84 Modulation Plug-ins 100 Other Plug-ins 103 Pitch Shift Plug-ins 107 Reverb Plug-ins 125 Spatial + Panner Plug-ins 137 Surround Plug-ins 149 Tools Plug-ins

158 MIDI Effects

158 Arpache 5 160 Arpache SX 163 Auto LFO 164 Beat Designer 173 Chorder 177 Compressor 178 Context Gate 180 Density 181 MIDI Control 181 MIDI Echo 183 MIDI Modifiers 184 MIDI Monitor 185 Micro Tuner 186 Note to CC 186 Quantizer 187 StepDesigner 192 Track Control 195 Transformer

196 Included VST Instruments

196 Groove Agent SE 196 HALion Sonic SE 196 LoopMash 212 Mystic 227 Padshop 227 Prologue 246 Retrologue 246 Spector 261 Diagrams

The included plug-in effects are arranged according to their categories. This

NOTE

chapter is arranged in the same fashion, with the plug-ins listed in separate sections for each effect category.

Most of the included effects are compatible with VST 3. For more information, see the “Operation Manual”.

Delay Plug-ins

Included Effect Plug-ins

ModMachine

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.

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Included Effect Plug-ins

Delay Plug-ins

Delay

If tempo sync is activated, this sets the base note value for the delay. If tempo sync is deactivated, the delay time can be set freely in milliseconds.

Delay – Sync

Activates/Deactivates tempo sync for the Delay parameter.

Rate

If tempo sync is activated, this is where you specify the base note value for tempo-syncing the effect (1/1 to 1/32, straight, triplet, or dotted).

If tempo sync is deactivated, the modulation speed can be set freely with the

Rate knob.

Rate – Sync

Activates/Deactivates tempo sync for the Rate parameter.

Width

Sets the amount of delay modulation. This allows you to create a vibrato or chorus-like effect.

Feedback

Sets the number of repeats for the delay.

Drive

Adds distortion to the feedback loop. The longer the feedback, the more the delay repeats are distorted over time.

Included Effect Plug-ins

Delay Plug-ins

Mix

Sets the level balance between the dry signal and the wet signal. If the effect is used as a send effect, set this parameter to the maximum value as you can control the dry/effect balance with the send.

Nudge

Clicking this button once momentarily speeds up the audio coming into the plug-in, simulating the nudge command of analog tape machines.

Signal path graphic and Filter position

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

Filter type (in graphic display)

Allows you to select a filter type. You can choose between a low-pass, band-pass, and high-pass filter.

Filter Frequency LFO Modulation

Freq

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

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

Speed

Sets the speed of the filter frequency LFO modulation. If tempo sync is activated, this parameter sets the base note value for synchronizing the modulation to the tempo of the host application.

If tempo sync is deactivated, the speed can be set freely with the Speed knob.

Speed – Sync

Activates/Deactivates tempo sync for the Speed parameter.

Range Lo/Hi

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

Spatial

Introduces an offset between the channels to create a stereo panorama effect for the filter frequency modulation. Turn clockwise for a more pronounced stereo effect.

Included Effect Plug-ins

Delay Plug-ins

Filter Resonance LFO Modulation

Q-Factor

Sets the resonance of the filter. It is only available if filter resonance LFO tempo sync is deactivated and the Speed parameter is set to 0. If tempo sync is activated, the resonance is controlled by the Speed and Range parameters.

Speed

Sets the speed of the filter resonance LFO modulation. If tempo sync is activated, this parameter sets the base note value for tempo syncing the modulation.

If tempo sync is deactivated, the speed can be set freely with the Speed knob.

Speed – Sync

Activates/Deactivates tempo sync for the Speed parameter.

Range Lo/Hi

MonoDelay

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

Spatial

Introduces an offset between the channels to create a stereo panorama effect for the filter resonance modulation. Turn clockwise for a more pronounced stereo effect.

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

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Included Effect Plug-ins

NOTE

Delay Plug-ins

Delay

If tempo sync is activated, this sets the base note value for the delay. If tempo sync is deactivated, the delay time can be set freely in milliseconds.

Sync

Activates/Deactivates tempo sync.

Feedback

Sets the number of repeats for the delay.

Filter Lo

Affects the feedback loop of the effect signal and allows you to roll off low frequencies. The button below the knob activates/deactivates the filter.

Filter Hi

Affects the feedback loop of the effect signal and allows you to roll off high frequencies. The button below the knob activates/deactivates the filter.

Mix

If side-chaining is supported, the delay can also be controlled from another signal source via the side-chain input. If the side-chain signal exceeds the threshold, the delay repeats are silenced. If the signal drops below the threshold, the delay repeats reappear. For a description of how to set up side-chain routing, see the “Operation Manual”.

PingPongDelay

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.

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Included Effect Plug-ins

NOTE

Delay Plug-ins

Delay

If tempo sync is activated, this sets the base note value for the delay. If tempo sync is deactivated, the delay time can be set freely in milliseconds.

Sync

Activates/Deactivates tempo sync.

Feedback

Sets the number of repeats for the delay.

Filter Lo

Affects the feedback loop of the effect signal and allows you to roll off low frequencies. The button below the knob activates/deactivates the filter.

Filter Hi

Affects the feedback loop of the effect signal and allows you to roll off high frequencies. The button below the knob activates/deactivates the filter.

Spatial

StereoDelay

Sets the stereo width for the left/right repeats. Turn clockwise for a more pronounced stereo ping-pong effect.

Mix

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

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Delay

If tempo sync is activated, this sets the base note value for the delay. If tempo sync is deactivated, the delay time can be set freely in milliseconds.

Sync

Activates/Deactivates tempo sync for the corresponding delay.

Feedback

Set the number of repeats for each delay.

Filter Lo

Affects the feedback loop of the effect signal and allows you to roll off low frequencies. The button below the knob activates/deactivates the filter.

Filter Hi

Affects the feedback loop of the effect signal and allows you to roll off high frequencies. The button below the knob activates/deactivates the filter.

Pan

Set the stereo position for each delay.

Mix

Distortion Plug-ins

AmpSimulator

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

Included Effect Plug-ins

Distortion Plug-ins

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Amplifier pop-up menu

Click the amplifier name shown at the top of the amp section to open this pop-up menu. It allows you to select an amplifier model. This section can be bypassed by selecting No Amp.

Drive

Controls the amount of amp overdrive.

Bass

Tone control for the low frequencies.

Middle

Tone control for the mid frequencies.

Treble

Tone control for the high frequencies.

Presence

Boosts or dampens the higher frequencies.

Volume

Controls the overall output level.

Cabinet pop-up menu

Click the cabinet name shown at the top of the cabinet section to open this pop-up menu. It allows you to select a speaker cabinet model. This section can be bypassed by selecting No Speaker.

Damping Lo/Hi

Further tone controls for shaping the sound of the selected speaker cabinet. Click the values, enter a new value and press [Enter].

Included Effect Plug-ins

Distortion Plug-ins

BitCrusher

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

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Mode

Allows you to select one of the four operating modes. In each mode, the plug-in sounds differently. Modes I and III are nastier and noisier, while modes

II and IV are more subtle.

Sample Divider

Sets the amount by which the audio samples are decimated. At the highest setting, nearly all of the information describing the original audio signal is eliminated, turning the signal into unrecognizable noise.

DaTube

Depth (0 to 24 bits)

Defines the bit resolution. A setting of 24 gives the highest audio quality, while a setting of 1 creates mostly noise.

Output

Sets the output level.

Mix

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

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

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Drive

Sets the pre-gain of the amplifier. Use high values if you want an overdriven sound just on the verge of distortion.

Balance

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

Output

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

Distortion

Distortion adds crunch to your tracks.

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Boost

Increases the distortion amount.

Feedback

Feeds part of the output signal back to the effect input. Higher settings increase the distortion effect.

Tone

Lets you select a frequency range to which to apply the distortion effect.

Spatial

Changes the distortion characteristics of the left and right channels, thus creating a stereo effect.

Output

Sets the output level.

Included Effect Plug-ins

Distortion Plug-ins

Grungelizer

Grungelizer adds noise and static to your recordings – like listening to a radio with bad reception, or a worn and scratched vinyl record.

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Crackle

Adds crackle to create that old vinyl record sound.

RPM

When emulating the sound of a vinyl record, this switch lets you set the speed of the record in RPM (revolutions per minute).

Noise

Sets the amount of added static noise.

Distort

Adds distortion.

Cuts the low frequencies, and creates a hollow, lo-fi sound.

Emulates a constant, low AC hum.

Frequency

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

Timeline

Sets the amount of overall effect.

Included Effect Plug-ins

Distortion Plug-ins

Magneto II

This effect simulates the saturation and compression of recording on analog tape machines.

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Saturation

Determines the amount of saturation and the generation of overtones. This leads to a small increase in input gain.

Saturation On/Off

Activates/Deactivates the saturation effect.

Dual Mode

Simulates the use of two machines.

Frequency Range Low/Hi

These parameters set the frequency range of the spectrum band to which the tape effect is applied.

For example, to avoid the saturation of lower frequencies, set the Freq Low value to 200 set the Freq Hi parameter to values below 10

Hz or 300 Hz. To avoid the saturation of very high frequencies,

kHz.

Tape Solo

Allows you to hear only the set frequency range including the tape simulation effect. This helps you to determine the appropriate frequency range.

HF-Adjust

Sets the amount of high frequency content of the saturated signal.

HF-Adjust On/Off

Activates/Deactivates the HF-Adjust filter.

Included Effect Plug-ins

Distortion Plug-ins

VU Input/Output

Quadrafuzz v2

Quadrafuzz v2 is a multi-band distortion and multi-effect plug-in for processing drums and loops but also for treatment of vocals, for example. You can distort up to 4 bands. 5 different distortion modes with several sub-modes are available.

The buttons determine whether the VU meter shows the level of the input or of the output signal. To set the input/output level, use the knob or enter a value in the value field.

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Included Effect Plug-ins

Distortion Plug-ins

Scenes

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 the output level. The vertical value scale to the left shows the gain level of each frequency band. The horizontal scale shows the available frequency range.

• To define the frequency range of the different frequency bands, use the

You can save up to 8 eight different settings.

If the default setting of a scene is active, the selected scene button lights up yellow. If you change the default settings, the button lights up green.

If you change the default settings, the button lights up green, indicating that this sc

ene has customized settings.

To copy the settings of a scene to another scene, select the scene that you want to copy, click Copy, and click one of the numbered buttons.

You can automate the selection of scenes.

andles at the sides of each frequency band.

Global Settings

Band Settings

• To attenuate or boost the ou

tput level of each frequency band by ±15 dB, use

the handles on top of each frequency band.

Switches between multi band

and single band mode.

Mix

Sets the level balance between the dry signal

Output (-24 to 24 dB)

Sets the output level.

Mute

To mute each frequency band, activate the M b

Bypassing Frequency Bands

To bypass each frequency band, activate the

and the wet signal.

utton in each section.

button in each section.

Included Effect Plug-ins

Distortion Plug-ins

Tape

Soloing Frequency Bands

To solo a frequency band, activate the S button in each section. Only one band can be soloed at a time.

In/Out meter

Display the input and output level.

Gate

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

This band mode simulates the saturation and compression of recording on analog tape machines.

Drive

Tube

Dist

Controls the amount of tape saturation.

Tape Mode Dual

Simulates the use of two machines.

This band mode simulates the saturation effects using analog tubes.

Drive

Controls the amount of tube saturation.

Tubes

Determine the number of tubes that are simulated.

This band mode adds distortion to your tracks.

Drive

Controls the amount of distortion.

Amp

FBK

Feeds part of the output signal back to the effect input. Higher settings increase the distortion effect.

This band mode simulates the sound of various types of guitar amps.

Included Effect Plug-ins

Distortion Plug-ins

Dec

Drive

Controls the amount of amp overdrive.

Amp Types

You can select the following types of guitar amps:

•Amp Clean

• Amp Crunch

•Amp Lead

This band mode allows you to decimate and truncate the input audio signal to create a noisy, distorted sound.

Decimator

Controls the resulting bit-resolution. The lower the resolution, the higher the distortion effect.

Delay

Mode

Allows you to select one of the four operating modes. In each mode, the plug-in sounds differently. Modes I and III are nastier and noisier, while modes

II and IV are more subtle.

S&H

To open the Delay section, click the Delay button.

Time

If tempo sync is activated, this is where you specify the base note value for tempo-syncing the effect (1/1 to 1/32, straight, triplet, or dotted).

If tempo sync is deactivated, the delay time can be set freely with the Time knob.

Sync

Activates/Deactivates tempo sync for the corresponding delay.

Duck

Determines how much the delay signal ducks when an audio signal is present.

Mix

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

Included Effect Plug-ins

NOTE

Distortion Plug-ins

Slider

FBK

Determines the number of repeats for each delay.

Mode

If this option is activated, the delay signal is routed back into the distortion unit to create a feedback with distortion.

High FBK values and low Duck values in combination with activated Mode can lead to unwanted noise.

Width

Sets the stereo width for the corresponding band.

Out

SoftClipper

Sets the output gain for the corresponding band.

Pan

Sets the stereo position for the corresponding band.

Mix

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

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

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Input (-12 to 24 dB)

Sets the pre-gain. Use high values if you want an overdriven sound just on the verge of distortion.

Included Effect Plug-ins

Distortion Plug-ins

Mix

Output

VST Amp Rack

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

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

Sets the output level.

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

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

Included Effect Plug-ins

Distortion Plug-ins

Pre/Post-Effects

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

Each effect features an On/Off button known from stompbox effects, as well as individual parameters.

Wah Wah

Pedal – Controls the filter frequency sweep.

Volume

Pedal – Controls the level of the signal passing through the effect.

Compressor

Intensity – Sets the amount by which an input signal is being compressed.

Limiter

Threshold – Determines the maximum output level. Signal levels above the

set threshold are cut off.

Release – Sets the time after which the gain returns to the original level.

Maximizer

Amount – Determines the loudness of the signal.

Chorus

Rate – Allows you to set the sweep rate. This parameter can be synchronized

to the project tempo. Width – Determines the depth of the chorus effect. Higher settings produce

a more pronounced effect.

Phaser

Rate – Allows you to set the sweep rate. This parameter can be synchronized

to the project tempo. Width – Determines the width of the modulation effect between higher and

lower frequencies.

Flanger

Rate – Allows you to set the sweep rate. This parameter can be synchronized

to the project tempo. Feedback – Determines the character of the flanger effect. Higher settings

produce a more metallic sounding sweep.

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

Tremolo

Rate – Allows you to set the modulation speed. This parameter can be

synchronized to the project tempo.

Included Effect Plug-ins

Distortion Plug-ins

Depth – Governs the depth of the amplitude modulation.

Octaver

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

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

Octave 1 – Adjusts the level of the signal that is generated one octave below the original pitch. A setting of 0 means that the voice is muted.

Octave 2 – Adjusts the level of the signal that is generated two octaves below the original pitch. A setting of 0 means that the voice is muted.

Delay

Delay – Sets the delay time in milliseconds. This parameter can be

synchronized to the project tempo.

Feedback – Sets the number of repeats for the delay. Mix – Sets the level balance between the dry signal and the wet signal.

Tape Delay

Delay – Tape Delay creates a delay effect known from tape machines. The

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

Feedback – Sets the number of repeats for the delay. Mix – Sets the level balance between the dry signal and the wet signal.

Tape Ducking Delay

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

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

Feedback – Sets the number of repeats for the delay. Duck – Works like an automatic mix parameter. If the level of the input signal

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

Overdrive

Drive – Overdrive creates a tube-like overdrive effect. The higher this value,

the more harmonics are added to the output signal of this effect.

Tone – Works as a filter effect on the added harmonics. Level – Adjusts the output level.

Fuzz

Boost – Fuzz creates a rather harsh distortion effect. The higher this value,

the more distortion is created.

Tone – Works as a filter effect on the added harmonics. Level – Adjusts the output level.

Included Effect Plug-ins

Distortion Plug-ins

Gate

Threshold – Determines the level at which the gate is activated. Signal levels

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

Release – Sets the time after which the gate closes.

Equalizer

Low – Changes the level of the low-frequency portion of the incoming signal. Middle – Changes the level of the mid-frequency portion of the incoming

signal. High – Changes the level of the high-frequency portion of the incoming

signal.

Reverb

Type – A convolution-based reverb effect. This parameter allows you to switch between different reverb types (Studio, Hall, Plate, and Room).

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

Sync Mode

Using Effects

Some parameters can be synchronized to the tempo of the host application. The names of these parameters are underlined. Click a knob to activate or

deactivate tempo sync. An LED at the top right of the knob indicates that sync mode is active. You can then select a base note value for tempo syncing from the pop-up menu above the control.

• To insert a new effect, click the + button that appears if you point the mouse

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

• To remove an effect from an effect slot, click the effect name and select None

from the pop-up menu.

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

• To activate or deactivate an effect, click the pedal-like button below the effect name. If an effect is active, the LED next to the button is lit.

Included Effect Plug-ins

NOTE

Distortion Plug-ins

Amplifiers

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

• Using quick controls you can set up an external MIDI device, such as a foot controller, to control the VST Amp Rack effects. For more information about quick controls, see the “Operation Manual”.

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

Plexi

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

Plexi Lead

British rock tone of the 70s and 80s.

Diamond

The cutting edge hard rock and metal sounds of the 90s.

Blackface

Classic American clean tone.

Tweed

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

Deluxe

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

British Custom

Produces the sparkling clean or harmonically distorted rhythm sounds of the 60s.

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

Selecting and Deactivating Amplifiers

To switch amps on the Amplifiers page, click the model that you want to use. Select No Amplifier if you only want to use the cabinets and effects.

Cabinets

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

Included Effect Plug-ins

Distortion Plug-ins

Microphones

Selecting and Deactivating Cabinets

• To switch cabinets on the Cabinets page, click the model that you want to use. Select No Cabinet if you only want to use the amps and effects.

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

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

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

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

Master

Placing the Microphone

• To select a microphone position, click the corresponding ball in the graphic. The selected position is marked in red.

Use the Master page to fine-tune the sound.

Input/Output Level Meters

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

Using the Master Controls

• To activate/deactivate the equalizer, click the pedal-like On/Off button. If the equalizer is active, the LED next to the button is lit.

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

• To tune your guitar strings, click the pedal-like On/Off button to activate the Tuner and play a string. If the correct pitch is displayed and the row of LEDs below the digital display is green, the string is tuned correctly.

If the pitch is too low, red LEDs are lit on the left. If the pitch is too high, red LEDs are lit on the right. The more LEDs are lit, the lower/higher is the pitch.

• To mute the output signal of the plug-in, click the pedal-like Master button. If the output is muted, the LED is not lit. Use this to tune your guitar in silence, for example.

Included Effect Plug-ins

NOTE

Distortion Plug-ins

Configuration

• To change the volume of the output signal, use the Level control on the Master page.

On the Configuration page, you can specify whether you want to use VST Amp Rack in stereo or in mono mode.

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

• To use the effect in mono-mode, make sure that the plug-in is inserted on a mono track, and activate the Mono button.

In stereo mode, the effect requires more processing power.

View Settings

You can choose between 2 views: the default view and a compact view, which takes up less screen space.

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

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

Using the Smart Controls

Smart controls become visible on the plug-in frame when you move the mouse pointer over on the plug-in panel.

Switching between Default and Compact View

• To toggle between the different views, click the down/up arrow button (Show/Hide Extended Display) at the top center of the plug-in frame.

Changing the Amplifier and Cabinet Selection in the Compact View

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

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

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• To lock the amplifier and cabinet combination, activate the Link/Unlink Amplifier & Cabinet Choice button. If you now select another amp model,

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

Previewing Effect Settings

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

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

VST Bass Amp

VST Bass Amp is a bass amp simulator. It offers a choice of amplifiers and speaker cabinets that can be combined with stomp box effects.

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Pre/Post-Effects

At the top of the plug-in panel, the following buttons open different pages in the display section of the plug-in panel: Pre-Effects, Amplifiers, Cabinets, Post-Effects, Microphones, Configuration, and Master.

These buttons are arranged according to the position of the corresponding elements in the signal chain.

Below the display section, the selected bass amplifier is displayed. The color and texture of the area below the bass amp indicate the selected cabinet.

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

Each effect features an On/Off button known from stompbox effects, as well as individual parameters.

Wah Wah

Pedal – Controls the filter frequency sweep.

Envelope Filter

Range – Determines the frequency range. Q-Factor – Sets the intensity of the envelope filter effect. Sensitivity – Determines how sensitive the effect reacts to the instrument

level.

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Attack – Determines how quickly an effect reacts to the input signal. Mix – Sets the level balance between the dry signal and the wet signal. Type – Sets the filter type. Release – Determines how quickly the effect fades after the input signal

stops.

Volume

Pedal – Controls the level of the signal passing through the effect.

Compressor

Intensity – Sets the amount by which an input signal is being compressed.

Compressor MB

Lo Intensity – Sets the compressor effect in the low frequency band.

Activate/deactivate Auto Makeup Mode by clicking the LED at the top right of the knob.

Hi Intensity – Sets the compressor effect in the high frequency band. Activate/deactivate Auto Makeup Mode by clicking the LED at the top right of the knob.

Crossover – Determines the crossover frequency between the low frequency band and the high frequency band.

Output – Sets the output level.

Limiter

Threshold – Determines the maximum output level. Signal levels above the

set threshold are cut off.

Release – Sets the time after which the gain returns to the original level.

Maximizer

Amount – Determines the loudness of the signal.

Chorus

Rate – Allows you to set the sweep rate. This parameter can be synchronized

to the project tempo. Width – Determines the depth of the chorus effect. Higher settings produce

a more pronounced effect.

Tone – Allows you to attenuate low frequencies. Mix – Sets the level balance between the dry signal and the wet signal.

Phaser

Rate – Allows you to set the sweep rate. This parameter can be synchronized

to the project tempo. Width – Determines the width of the modulation effect between higher and

lower frequencies.

Tone – Allows you to attenuate the low frequencies. Mix – Sets the level balance between the dry signal and the wet signal.

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Flanger

Rate – Allows you to set the sweep rate. This parameter can be synchronized

to the project tempo. Feedback – Determines the character of the flanger effect. Higher settings

produce a more metallic sounding sweep.

Tone – Allows you to attenuate the low frequencies. Mix – Sets the level balance between the dry signal and the wet signal.

DI Driver

Level – Sets the output level. Blend – Blends between normal and tube emulation circuitry. With Blend at

0, Drive and Presence are not active. Bass – Boosts or attenuates low frequencies. Treble – Boosts or attenuates high frequencies. Presence – Boosts or attenuates upper harmonics and attacks. Drive – Sets gain and overdrive.

Enhancer

Enhance – Simulates the classic enhancer effect. Tone – Allows you to attenuate low frequencies.

Octaver

Direct – Adjusts the level of the original signal. A value of 0 means only the

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

Octave 1 – Adjusts the level of the signal that is generated one octave below the original pitch. A setting of 0 means that the voice is muted.

Tone – Changes the sound character of the generated signal.

Delay

Delay – Sets the delay time in milliseconds. This parameter can be

synchronized to the project tempo.

Feedback – The higher this setting, the more delay repeats are created. Mix – Sets the level balance between the dry signal and the wet signal.

Tape Ducking Delay

Delay – The Delay parameter sets the delay time in milliseconds. Feedback – The higher this setting, the more delay repeats are created. Duck – Works like an automatic mix parameter. If the level of the input signal

Tone – Allows you to attenuate the low frequencies.

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

Overdrive

Drive – Overdrive creates a tube-like overdrive effect. The higher this value,

the more harmonics are added to the output signal of this effect.

Tone – Works as a filter effect on the added harmonics. Level – Adjusts the output level.

Magneto II

Drive – Controls the amount of tape saturation. Low/High – These parameters set the frequency range of the spectrum band

to which the tape effect is applied. HF-Adjust – Sets the amount of high frequency content of the saturated

signal.

Gate

Threshold – Determines the level at which the gate is activated. Signal levels

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

Release – Sets the time after which the gate closes.

Equalizer

Low – Changes the level of the low-frequency portion of the incoming signal. Middle – Changes the level of the mid-frequency portion of the incoming

signal. High – Changes the level of the high-frequency portion of the incoming

signal.

Graphical EQ

Display – Consists of 8 sliders that set the level of each frequency band.

Allows you to draw response curves by clicking and dragging with the mouse.

Switch – At the lower right of the Display. Flattens all values to 0 dB. Output Slider – Allows you to control the frequency response.

Reverb

Type – A convolution-based reverb effect. This parameter allows you to switch between the reverb types Studio, Hall, Plate, and Room.

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

Sync

Some parameters can be synchronized to the tempo of the host application. The names of these parameters are underlined. Click a knob to activate or

deactivate tempo sync. An LED at the top right of the knob indicates that sync mode is active. You can then select a base note value for tempo syncing from the pop-up menu above the control.

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Using Effects

• To insert a new effect, click the + button that appears if you point the mouse at an empty plug-in slot or at one of the arrows before or after a used effect slot.

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

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

Amplifiers

• To activate or deactivate an effect, click the pedal-like button below the effect name. If an effect is active, the LED next to the button is lit.

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

• Using quick controls you can set up an external MIDI device, such as a foot controller, to control the VST Bass Amp effects. For more information about quick controls, see the “Operation Manual”.

The amps available on the Amplifiers page are modeled on real-life amplifiers. Each amp features settings typical for bass recording, such as gain, equalizers, and master volume. The sound-related parameters bass, low mid, high mid, and treble have a significant impact on the overall character and sound of the corresponding amp. Shape 1 and Shape 2 offer predefined tone shaping.

ValveAmp300

A famous tube amplifier from the 70s, useful for rock playing styles.

GreenT

A classic amplifier from the 80s, useful for funk and rock playing styles.

Greyhound

An amplifier, well known for its typical growl, useful for several playing styles.

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Paradise

An amplifier from the 90s, with a hifi-like clear tone, that makes it applicable for several styles.

iTech

A modern amplifier, with a universal sound.

Tweed

A classic vintage amplifier from the 50s, with a characterful and bright tone. Originally created for bassists, also used by many guitar players.

The different amps keep their settings if you switch models, but amp settings are lost when closing VST Bass AMP. If you want to use the same settings after reloading the plug-in, you need to set up a preset.

Selecting and Deactivating Amplifiers

To switch amps on the Amplifiers page, click the model that you want to use. Select No Amplifier if you only want to use the cabinets and effects.

Cabinets

To scroll through amplifiers, use the mouse wheel when hovering over the amplifier panel.

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

The following cabinets are available:

4x10”

10” speakers provide a punchy clear sound that is suitable for “Slap” bass and regular playing styles.

10” speakers have a cleaner sound and more punch than 15” speakers.

8x10”

Compared to 4x10”, double the amount of speakers.

4x12”

12” speakers provide a mellow and full sound, making them a good choice between 10” and 15” speakers.

1x15”

15” speakers provide more low frequencies compared to the other cabinets. They are suitable for rock and vintage oriented styles.

Selecting and Deactivating Cabinets

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Microphones

• To switch cabinets on the Cabinets page, click the model that you want to use. Select No Cabinet if you only want to use the amps and effects.

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

On the Microphones page, you can choose between different microphone types.

Dynamic microphone with cardioid pickup pattern.

121

Ribbon microphone with figure-8 pattern.

409

Dynamic microphone with supercardioid pickup pattern.

421

Dynamic microphone with cardioid polar pattern.

545

Dynamic microphone with cardioid pattern that minimizes feedback.

Dynamic microphone with cardioid pickup pattern.

Reference and measurement microphone with omni directional polar pattern.

Condenser microphone with omni directional pattern.

You can choose between different microphone positions. These positions result from two different angles (on axis and off axis) and three different distances from the cabinet.

You can crossfade between the characteristics of the two microphones.

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

• To select a microphone position, click the corresponding ball in front of the cabinet. The selected position is marked in red.

• To determine the ratio between line and mic, turn the Mix control on the left of the cabinet.

To scroll through microphones, use the mouse wheel when hovering over a microphone.

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Master

Use the Master page to fine-tune the sound.

Input/Output Level Meters

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

Using the Master Controls

• To activate/deactivate the equalizer, click the pedal-like On/Off button. If the equalizer is active, the LED next to the button is lit.

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

• To tune your guitar strings, click the pedal-like On/Off button to activate Tuner and play a string. If the correct pitch is displayed and the row of LEDs below the digital display is green, the string is tuned correctly.

Configuration

If the pitch is too low, red LEDs are lit on the left. If the pitch is too high, red LEDs are lit on the right. The more LEDs are lit, the lower/higher is the pitch.

• To mute the output signal of the plug-in, click the pedal-like Master button. If the output is muted, the LED is not lit. Use this to tune your guitar in silence, for example.

• To change the volume of the output signal, use the Level control on the Master page.

Master EQ functions only when a cabinet is selected.

On the Configuration page, you can specify whether you want to use VST Bass Amp in stereo or in mono mode.

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

• To use the effect in mono-mode, make sure that the plug-in is inserted on a mono track, and activate the Mono button.

In stereo mode, the effect requires more processing power. Use mono configuration on a stereo track to save processing power.

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View Settings

You can choose between 2 views: the default view and a compact view, which takes up less screen space.

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

Using the Smart Controls

Smart controls become visible on the plug-in frame when you move the mouse pointer over the plug-in panel.

Switching between Default and Compact View

• To toggle between the different views, click the down/up arrow button (Show/Hide Extended Display) at the top center of the plug-in frame.

Changing the Amplifier and Cabinet Selection in the Compact View

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

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

• To lock the amplifier and cabinet combination, activate the Link/Unlink Amplifier & Cabinet Choice button. If you now select another amp model, the cabinet selection follows. However, if you select a different cabinet model, the lock is deactivated.

Previewing Effect Settings

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

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

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Brickwall Limiter

Brickwall Limiter ensures that the output level never exceeds a set limit.

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Due to its fast attack time, Brickwall Limiter can reduce even short audio level peaks without creating audible artifacts. However, this plug-in creates a latency of 1ms. Brickwall Limiter features separate meters for input, output, and the amount of limiting. Position this plug-in at the end of the signal chain, before dithering.

Threshold (-20 to 0 dB)

Determines the level where the limiter kicks in. Only signal levels above the set threshold are processed.

Release (3 to 1000 ms or Auto mode)

Sets the time after which the gain returns to the original level when the signal drops below the threshold. If the Auto button is activated, the plug-in automatically finds the best release setting for the audio material.

Link

If this button is activated, Brickwall Limiter uses the channel with the highest level to analyze the input signal. If the button is deactivated, each channel is analyzed separately.

Detect Intersample Clipping

If this option is activated, Brickwall Limiter detects and limits signal levels between two samples to prevent distortion when converting digital signals into analog signals.

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Compressor

Brickwall Limiter is designed for the reduction of occasional peaks in the signal. If the Gain Reduction meter indicates constant limiting, try raising the threshold or lowering the overall level of the input signal.

This plug-in reduces the dynamic range of the audio, making softer sounds louder or louder sounds softer, or both.

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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.

Threshold (-60 to 0 dB)

Determines the level where the compressor kicks in. Only signal levels above the set threshold are processed.

Ratio

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

dB.

dB the input level increases, the output

Soft Knee

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

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

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

Attack (0.1 to 100 ms)

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

Hold (0 to 5000 ms)

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

Release (10 to 1000 ms or Auto mode)

Sets the time after which the gain returns to its original level when the signal drops below the threshold. If the Auto button is activated, the plug-in automatically finds the best release setting for the audio material.

DeEsser

Analysis (Pure Peak to Pure RMS)

Determines whether the input signal is analyzed according to peak or RMS values, or a mixture of both. A value of 0 is pure peak and 100 pure RMS. RMS mode operates using the average power of the audio signal as a basis, whereas Peak mode operates more on peak levels. As a general guideline,

RMS mode works better on material with few transients such as vocals, and Peak mode works better for percussive material with a lot of transient peaks.

Live

If this button is activated, the look-ahead feature of the effect is deactivated. Look-ahead produces more accurate processing, but adds a certain amount of latency as a trade-off. If Live mode is activated, there is no latency, which is better for live processing.

This effect reduces excessive sibilance, primarily for vocal recordings. It is a special type of compressor that is tuned to be sensitive to the frequencies produced by the s-sound.

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Display

Filter

Close proximity microphone placement and equalizing can lead to situations where the overall sound is just right, but there is a problem with sibilants.

Shows the spectrum of the input signal.

• To adjust the frequency band, drag the border lines or click in the middle of the band and drag.

• To change the width of the frequency band, hold [Shift] and drag to the left or right.

Lo/Hi

Sets the left and right border of the frequency band. You can set the frequency either in Hz or as a note value. If you enter a note value, the frequency is automatically changed to Hz. For example, a note value of A3 sets the frequency to 440

Hz. When you enter a note value, you can also enter

a cent offset. For example, enter A5 -23 or C4 +49.

Make sure that you enter a space between the note and the cent offset. Only in this case, the cent offsets are taken into account.

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Dynamics

Solo

Solos the frequency band. This helps you to find the appropriate position and width of that band.

Diff

Plays back what DeEsser removed from the signal. This help you to adjust the frequency band, threshold, and reduction parameters, so that only sharp s-sounds are removed, for example.

Reduction

Controls the intensity of the de-essing effect.

Threshold (-50 to 0 dB)

If the Auto option is deactivated, you can use this control to set a threshold for the incoming signal level above which the plug-in starts to reduce the sibilants.

Sidechain

Release (1 to 1000 ms)

Sets the time after which the de-essing effect returns to zero when the signal drops below the threshold.

Auto

Automatically and continually sets an optimum threshold setting independent of the input signal. The Auto option does not work for low-level signals

-30 db peak level). To reduce the sibilants in such a file, set the threshold

(< manually.

Freq (25 Hz to 20 kHz)

If the Side-Chain button is activated, this sets the frequency of the filter. You can set the frequency either in Hz or as a note value. If you enter a note value, the frequency is automatically changed to Hz. For example, a note value of A3 sets the frequency to 440

Hz. When you enter a note value, you can also enter

a cent offset. For example, enter A5 -23 or C4 +49.

Make sure that you enter a space between the note and the cent offset. Only in this case, the cent offsets are taken into account.

Q-Factor

If the Side-Chain button is activated, this sets the resonance or width of the filter.

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Side

Activates the internal side-chain filter. You can now shape the input signal according to the filter parameters. Internal side-chaining can be useful for tailoring how the gate operates.

Monitor

Allows you to monitor the filtered signal.

Live

Positioning the DeEsser in the Signal Chain

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

EnvelopeShaper

This plug-in can be used to attenuate or boost the gain of the attack and release phase of audio material.

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You can use the knobs or drag the breakpoints in the graphical display to change parameter values. Be careful with levels when boosting the gain and if needed reduce the output level to avoid clipping.

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Attack (-20 to 20 dB)

Sets the gain of the attack phase of the signal.

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Expander

Length (5 to 200 ms)

Sets the length of the attack phase.

Release (-20 to 20 dB)

Sets the gain of the release phase of the signal.

Output

Sets the output level.

If side-chaining is supported, the effect can also be controlled from another signal source via the side-chain input. If the side-chain signal exceeds the threshold, the effect is triggered. For a description of how to set up side-chain routing, see the “Operation Manual”.

Expander reduces the output level in relation to the input level for signals below the set threshold. This is useful if you want to enhance the dynamic range or reduce the noise in quiet passages.

You can either use the knobs or drag the breakpoints in the graphical display to change the Threshold and the Ratio parameter values.

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Threshold (-60 to 0 dB)

Determines the level where the expansion kicks in. Only signal levels below the set threshold are processed.

Ratio

Sets the amount of gain boost applied to signals below the threshold.

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Soft Knee

If this button is deactivated, signals below the threshold are expanded instantly according to the set ratio (hard knee). If Soft Knee is activated, the onset of expansion is more gradual, producing less drastic results.

Fall (0.1 to 100 ms)

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

Hold (0 to 2000 ms)

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

Rise (10 to 1000 ms or Auto mode)

Sets the time after which the gain returns to its original level when the signal exceeds the threshold. If the Auto button is activated, the plug-in automatically finds the best rise setting for the audio material.

Analysis (Pure Peak to Pure RMS)

Gate

RMS mode works better on material with few transients such as vocals, and Peak mode works better for percussive material with a lot of transient peaks.

Live

If side-chaining is supported, the expansion can also be controlled from another signal source via the side-chain input. If the side-chain signal exceeds the threshold, the expansion is triggered. For a description of how to set up side-chain routing, see the “Operation Manual”.

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

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Threshold (-60 to 0 dB)

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

State LED

Indicates whether the gate is open (LED lights up in green), closed (LED lights up in red) or in an intermediate state (LED lights up in yellow).

Filter buttons (LP, BP, and HP)

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

Side-Chain

Activates the internal side-chain filter. The input signal can then be shaped according to the filter parameters. Internal side-chaining is useful for tailoring how the gate operates.

Center (50 to 20000 Hz)

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

Q-Factor

If the Side-Chain button is activated, this sets the resonance or width of the filter.

Monitor

Allows you to monitor the filtered signal.

Attack (0.1 to 1000 ms)

Sets the time after which the gate opens when it is triggered.

Deactivate the Live button to make sure that the gate is already open when a signal above the threshold is played back.

Hold (0 to 2000 ms)

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

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Release (10 to 1000 ms or Auto mode)

Sets the time after which the gate closes (after the set Hol

d time). If the Auto

button is activated, Gate automatically finds the best release setting for the audio material.

Range

Adjusts the attenuation of the gate when it is shut. If Ra

nge is set to , the

gate is completely shut. The higher the value, the higher the level of the signal that passes

through the shut gate.

Analysis (Pure Peak to Pure RMS)

Determines whether the input

signal is analyzed according to peak or RMS

values, or a mixture of both. A value of 0 is pure peak and 100 pure RMS. RMS mode operates using the average power of the audio signal as a basis, whereas Peak mode operates more on peak levels. As a general guideline,

RMS mode works better on material with few transients such as vocals, and Peak mode works better for percussive material with a lot of transient peaks.

Live

If this button is activated, the look-ahead fe

ature of the effect is deactivated.

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

Limiter

If side-chaining is supported, the gate can also be controlled from another signal source via the side-chain input. If the side-chain signal exceeds the threshold, the gate opens. For a description of how to set up side-chain routing, see the “Operation Manual”.

This plug-in is designed to ensure that the output level never exceeds a set output level, to avoid clipping in following devices.

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Maximizer

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).

Input (-24 to 24 dB)

Sets the input gain.

Output (-24 to 6 dB)

Sets the maximum output level.

Release (0.1 to 1000 ms or Auto mode)

Sets the time after which the gain returns to its original level. If the Auto button is activated, the plug-in automatically finds the best release setting for the audio material.

This plug-in raises the loudness of audio material without the risk of clipping.

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Output (-24 to 6 dB)

Sets the maximum output level.

Optimize

Determines the loudness of the signal.

MIDI Gate

Soft Clip

If this button is activated, Maximizer starts limiting or clipping the signal softly. At the same time, harmonics are generated, adding a warm, tube-like characteristic to the audio material.

This plug-in gates audio signals. The gate is triggered by MIDI notes.

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Gating, in its fundamental form, silences audio signals below a set threshold. If a signal rises above the set level, the gate opens to let the signal through. Signals below the set level are silenced. MIDI Gate, however, is not triggered by threshold levels, but MIDI notes. Therefore, it needs both audio and MIDI data to function.

Attack (0 to 500 ms)

Sets the time after which the gate opens when it is triggered.

Hold

Determines how long the gate remains open after a note-on or note-off message. The Hold Mode settings are taken into account.

Release (0 to 3000 ms)

Sets the time after which the gate closes after the set Hold time.

Note To Attack

Determines to which extent the velocity values of the MIDI notes affect the attack time. The higher the value, the more the attack time increases with high note velocities. Negative values result in shorter attack times with high velocities. If you do not want to use this parameter, set it to 0.

Note To Release

Determines to which extent the velocity values of the MIDI notes affect the release time. The higher the value, the more the release time increases. If you do not want to use this parameter, set it to 0.

Velocity To VCA

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

Hold Mode

Sets the Hold Mode.

•In Note-On mode, the gate only remains open for the time set with the Hold and Release parameters, regardless of the length of the MIDI note that triggered the gate.

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PROCEDURE

Dynamics Plug-ins

•In Note-Off mode, the gate remains open for as long as the MIDI note

Setting Up MIDI Gate

To use MIDI Gate for your audio, you need an audio track and a MIDI track.

1. Select the audio track to which you want to apply MIDI Gate.

This can be recorded or realtime audio material from any audio track.

2. Select MIDI Gate as an insert effect for the audio track.

3. Select a MIDI track to control the MIDI Gate effect.

You can either play notes on a connected MIDI keyboard or use recorded MIDI notes.

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

plays. The Hold and Release parameters are applied once a note-off signal has been received.

Applying MIDI Gate

PREREQUISITE

Set up the plug-in properly.

How to apply MIDI Gate depends on whether you are using realtime or recorded MIDI. We assume for the purposes of this manual that you are using recorded audio and play the MIDI in realtime.

1. If you use realtime MIDI to trigger the plug-in, make sure the MIDI track is

2. Start playback.

3. If you use realtime MIDI, play a few notes on your keyboard.

RESULT

The MIDI notes trigger the Gate. The plug-in gates the audio signals.

selected.

MultibandCompressor

MultibandCompressor allows a signal to be split into four frequency bands. You can specify the level, bandwidth, and compressor characteristics for each band.

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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. The vertical value scale to the left shows the gain level of each frequency band. The horizontal scale shows the available frequency range.

• To define the frequency range of the different frequency bands, use the

• To attenuate or boost the gain of the frequency bands by ±15 dB after

Live

handles at the sides of each frequency band.

compression, use the handles at the top of each frequency band.

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IMPORTANTIMPORTANTIMPORTANTIMPORTANT

Dynamics Plug-ins

Bypassing Frequency Bands

Soloing Frequency Bands

Output (-24 to 24 dB)

Compressor Section

You can specify the Threshold and Ratio by moving breakpoints or using the corresponding knobs. The threshold is marked by the first breakpoint where the line deviates from the straight diagonal.

Threshold (-60 to 0 dB)

Ratio

To bypass each frequency band, activate the

To solo a frequency band, activate the S b

button in each section.

utton in each section. Only one

band can be soloed at a time.

Sets the output level.

Determines the level where the compressor kicks in. Only signal levels above the set threshold are processed.

Sets the amount of gain reduction applied to signals above the set

threshold. A ratio of 3:1 means that for every 3 dB the input level increases, the output level increases by 1 dB.

Attack (0.1 to 100 ms)

Release (10 to 1000 ms or Auto mode)

Side-Chain Section

To open the side-chain section, click the SC button at the bottom left of the plug-in window.

To be able to use the side-chain function for the bands, global side-chain must be activated for the plug-in.

Determines how fast the compressor responds

to signals above the set threshold. If the attack time is long, more of the early part of the signal passes through unprocessed.

Sets the time after which the gain returns to its original level when the signal drops below the threshold.

If the Auto button is activated, the plug-in

automatically finds the best release setting for the audio material.

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Dynamics Plug-ins

Frequency

If the Side-Chain button is activated, this sets the frequency of the side-chain filter.

Q-Factor

If the Side-Chain button is activated, this sets the resonance or width of the filter.

Side-Chain

Activates the internal side-chain filter. The input signal can then be shaped according to the filter parameters. Internal side-chaining is useful for tailoring how the gate operates.

Side-Chain

Activates the internal side-chain filter. The side-chain signal can then be shaped according to the filter parameter. Internal side-chaining is useful for tailoring how the compressor operates.

Monitor

Allows you to monitor the filtered signal.

MultibandEnvelopeShaper

This plug-in allows a signal to be split into four frequency bands. You can attenuate or boost the gain of the attack and release phase of audio material for each band.

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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. The vertical value scale to the left shows the gain level of each frequency band. The horizontal scale shows the available frequency range.

• To define the frequency range of the different frequency bands, use the

• To attenuate or boost the gain of the fre

Live

Bypassing Frequency Bands

Soloing Frequency Bands

andles at the sides of each frequency band.

quency band, use the handles at the

top of each frequency band.

If this button is activated, the look-ahead fe

ature of the effect is deactivated.

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

To bypass each frequency band, activate the

button in each section.

To solo a frequency band, activate the S b band can be soloed at a time.

utton in each section. Only one

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Dynamics Plug-ins

Shaper Section

Output (-24 to 24 dB)

Sets the output level.

You can specify the Attack, Length, and Release by moving breakpoints or using the corresponding knobs. Be careful with levels when boosting the gain. You can reduce the output level to avoid clipping.

Attack (-20 to 20 dB)

Sets the gain of the attack phase of the signal.

Length (5 to 200 ms)

Sets the length of the attack phase.

Release (-20 to 20 dB)

Sets the gain of the release phase of the signal.

Sensitivity (-40 to -10 dB)

Sets the sensitivity of the detection.

Output

Sets the output level.

MultibandExpander

This plug-in allows a signal to be split into four frequency bands. You can reduce the output level in relation to the input level for signals below the set threshold for each band. This is useful if you want to enhance the dynamic range or reduce the noise in quiet passages.

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Dynamics Plug-ins

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 expansion. The vertical value scale to the left shows the gain level of each frequency band. The horizontal scale shows the available frequency range.

• To define the frequency range of the different frequency bands, use the

• To attenuate or boost th

Live

Bypassing Frequency Bands

Soloing Frequency Bands

handles

at the sides.

e gain of the frequency band after expansion, use the

handles on top of each frequency band.

If this button is activated, the look-ahead fe

ature of the effect is deactivated.

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

To bypass each frequency band, activate the

button in each section.

To solo a frequency band, activate the S b band can be soloed at a time.

utton in each section. Only one

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Dynamics Plug-ins

Expander Section

Output (-24 to 24 dB)

Sets the output level.

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

Threshold (-60 to 0 dB)

Determines the level where the expansion kicks in. Only signal levels below the set threshold are processed.

Ratio

Sets the amount of gain boost applied to signals below the threshold.

Maximum Reduction

Sets the maximum amount by which the level is reduced when the signal falls below the set threshold.

Fall (0.1 to 100 ms)

Hold (0 to 2000 ms)

Rise (10 to 1000 ms or Auto mode)

Output

Side-Chain Section

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

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

Sets the output level.

Frequency

If the Side-Chain button is activated, this sets the frequency of the side-chain filter.

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Dynamics Plug-ins

Q-Factor

If the Side-Chain button is activated, this sets the resonance or width of the filter.

Side-Chain

Activates the internal side-chain filter. The input signal can then be shaped according to the filter parameters. Internal side-chaining is useful for tailoring how the gate operates.

Side-Chain

Activates the internal side-chain filter. The side-chain signal can then be shaped according to the filter parameters. Side-chaining is useful for tailoring how MultibandExpander operates.

Monitor

Allows you to monitor the filtered signal.

Tube Compressor

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

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Drive (1.0 to 6.0)

Controls the amount of tube saturation.

Input

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

Limit

Increases the ratio of the compressor for a limiting effect.

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Output (-12 to 12 dB)

Sets the output gain.

Attack (0.1 to 100 ms)

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

Release (10 to 1000 ms or Auto mode)

Sets the time after which the gain returns to its original level. If the Auto button is activated, the plug-in automatically finds the best release setting for the audio material.

Mix

Adjusts the mix between dry signal and wet signal preserving the transients of the input signal.

In/Out Meters

Show the highest peaks of all available input and output channels.

VU Meter

Side-Chain

Filter buttons (LP, BP, and HP)

Side-chain section

Center (50 to 20000 Hz)

Q-Factor

Shows the amount of gain reduction.

Activates the internal side-chain filter. The input signal can then be shaped according to the filter parameters. Internal side-chaining is useful for tailoring how the gate operates.

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

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

If the Side-Chain button is activated, this sets the resonance or width of the filter.

Monitor

Allows you to monitor the filtered signal.

VintageCompressor

VintageCompressor is modeled after vintage type compressors.

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This compressor features separate controls for Input and Output gain, Attack, and Release. In addition, there is a Punch mode which preserves the attack phase of the signal and a program-dependent Auto feature for the Release parameter.

Input

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

Output (-48 to 24 dB)

Sets the output gain.

Attack (0.1 to 100 ms)

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

Punch

If 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.

Release (10 to 1000 ms or Auto mode)

Sets the time after which the gain returns to its original level. If the Auto button is activated, the plug-in automatically finds the best release setting for the audio material.

VU Meter

Shows the amount of gain reduction.

In/Out Meters

Show the highest peaks of all available input and output channels.

VSTDynamics

VSTDynamics is an advanced dynamics processor. It combines three separate processors: Gate, Compressor, and Limiter, covering a variety of dynamic processing functions.

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Dynamics Plug-ins

Gate Section

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The window is divided into three sections, containing controls and meters for each processor. Activate the individual processors using the buttons Gate, Compressor, and Limiter at the bottom of the plug-in panel.

Gating, or noise gating, is a method of dynamic processing that silences audio signals below a set threshold. As soon as the signal level exceeds the threshold, the gate opens to let the signal through. The Gate trigger input can also be filtered using an internal side-chain signal.

The following parameters are available:

Threshold (-60 to 0 dB)

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

State LED

Indicates whether the gate is open (LED lights up in green), closed (LED lights up in red) or in an intermediate state (LED lights up in yellow).

Side-Chain

Activates the internal side-chain filter. The input signal can then be shaped according to the filter parameters. Internal side-chaining is useful for tailoring how the gate operates.

Filter buttons (LP, BP, and HP)

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

Center (50 to 20000 Hz)

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

Q-Factor

If the Side-Chain button is activated, this sets the resonance or width of the filter.

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Dynamics Plug-ins

Monitor

Allows you to monitor the filtered signal.

Attack (0.1 to 100 ms)

Hold (0 to 2000 ms)

Release (10 to 1000 ms or Auto mode)

Range

Input Gain Meter

Compressor Section

Determines how fast the compressor responds

to signals above the set threshold. If the attack time is long, more of the early part of the signal passes through unprocessed.

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

Sets the time after which the gate closes after the set Hol

d time. If the Auto

button is activated, the plug-in automatically finds the best release setting for the audio material.

Adjusts the attenuation of the gate when it is shut. If Ra

nge is set to , the

gate is completely shut. The higher the value, the higher the level of the signal that passes

through the shut gate.

Shows the input gain.

The compressor reduces the dynamic range of the audio, making softer sounds louder or louder sounds softer, or both. The compressor features a separate display that graphically illustrates the compressor curve shaped according to your settings.

Threshold (-60 to 0 dB)

Determines the level where the compressor kicks in. Only signal levels above the set threshold are processed.

Ratio

Sets the amount of gain reduction applied to signals above the set

threshold. A ratio of 3:1 means that for every 3 dB the input level increases, the output level increases by 1 dB.

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

Compensates for output gain loss, caused by c

ompression. If the Auto button

is activated, the knob becomes dark and the output is automatically adjusted for gain loss.

Attack (0.1 to 100 ms)

Determines how fast the compressor responds

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

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Limiter Section

Release (10 to 1000 ms or Auto mode)

Graphical display

Use the graphical display to graphically set the threshold and ratio values. To the left and right of the graphical display, you find two meters that show the amount of gain reduction in dB.

The limiter ensures that the output level never exceeds a set threshold, to avoid clipping in following devices. Conventional limiters usually require very accurate setting up of the attack and release parameters to prevent the output level from going beyond the set threshold level. The limiter adjusts and optimizes these parameters automatically according to the audio material.

Output (-24 to 6 dB)

Sets the maximum output level.

Soft Clip

If this button is activated, the signal is limited when the signal level exceeds

dB. At the same time, harmonics are generated, adding a warm, tube-like

-6 characteristic to the audio material.

Release (10 to 1000 ms or Auto mode)

Sets the time after which the gain returns to its original level. If the Auto button is activated, the plug-in automatically finds the best release setting for the audio material.

Meters

The three meters show the input gain (IN), the gain reduction (GR) and the output gain (OUT).

Module Configuration Button

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

• C-G-L (Compressor-Gate-Limit)

• G-C-L (Gate-Compressor-Limit)

• C-L-G (Compressor-Limit-Gate)

Included Effect Plug-ins

EQ Plug-ins

CurveEQ

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

Main Layout

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

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Title Bar

Plug-in instance name

Bypass

General Control Bar

Presets selector

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

Use this button to compare the sound of the unprocessed signal to that of the processed signal. The Bypass button does not reduce the plug-in’s CPU load when switched on.

Allows you to store and restore custom settings.

Undo

Allows you to undo changes.

History

Opens a change log that lists up to 32 changes in the order you have made them.

Parameter changes are logged with the group name in parentheses, for example, Gain (Ls) change.

Redo

Allows you to redo changes that were undone.

A/B

By pressing the A/B button, you can switch between two plug-in states (A and B).

A>B (B>A)

Copies the current plug-in state to the other state (A or B). This is useful to copy programs between Session Bank slots.

Reset

This is the master reset button. It resets the plug-in to its default state. The default state can be chosen in the Preset Manager window.

Routing selector

The Routing button opens the Channel Routing Window, where you can change several routing options. The pop-up menu provides access to common routing options.

Included Effect Plug-ins

EQ Plug-ins

Save CSV

Allows you to save the selected EQ curve in a comma-separated text file. The EQ curve is stored as series of frequency/gain pairs, one per line, in the following form:

20.00,3.00

400.00,2.51

1000.00,1.45 # comment

5000.00,3.40

20000.00,1.05 Each pair defines the position of a single control point on the CurveEQ’s

control surface. Write decimal points as a period, not as a comma. Comments can be added at any position, starting with a hash character.

Load CSV

Allows you to load a previously saved CSV file or any externally generated EQ curve specification, such as room correction or RIAA phono correction. Frequencies defined in the file should lie between 20 and 20000

Hz.

Settings

EQ Top Control Bar

Equalizer dB gain range

MIN-Phase

Static & Match

Allows you to change general settings.

Lets you change the maximum boost/decrease of frequencies per band.

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

Opens the Static Spectrums Editor where you can display static spectrums and perform spectrum matching. Spectrum matching allows you to match the spectrum shape of a sound recording to that of another sound recording.

Mode selector

Allows you to select a mode for spectrum matching.

Edit

Opens the Spectrum Mode Editor.

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EQ Plug-ins

Main EQ Control Surface

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

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

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

The picture above shows the equalizer control surface with control points that can be dragged to adjust the filter’s gain and frequency.

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

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

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

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

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

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

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EQ Plug-ins

Equalizer – Group Editing

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

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

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

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

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

• To remove control points from the selection, hold [Shift] and click the control

For group editing, the following controls are available:

Up/down arrow button

Inv

Reset

Equalizer - Spectrum

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

A red vertical line is displayed if the visible frequency range is wide. This line shows the maximum frequency of the input signal and depends on the input sample rate.

point that you want to remove.

Allows you to change the relationship of the selected control points.

Inverts the gain of the selected control points.

Resets the current filter to its default state.

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

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

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

Included Effect Plug-ins

EQ Plug-ins

Equalizer - Narrow-Band Sweeping

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

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

Zooming

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

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

Scrollbar

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

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

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

EQ Bottom Control Bar

Hide Points

Hides the control points, which allows you to evaluate the EQ curve more precisely.

Freeform

Enables freeform mode, in which you can draw the EQ curve manually by drawing on the control surface with the left mouse button.

Note that switching to freeform mode and back can be destructive and some EQ curve features can be lost.

Included Effect Plug-ins

EQ Plug-ins

Curve 1/2/3

You can define up to 3 equalizer curves for every channel group. This is useful if you are using spectrum matching. For example, you can apply a matching EQ curve generated automatically and at the same time apply any additional EQ curve that you draw manually.

Note that CurveEQ has a lower resolution at the frequencies below 200 Hz. At these frequencies, the EQ curve does not always follow the control point positions.

Underlay

Allows you to select another EQ curve from any other channel group that is displayed as an underlay.

Up/down arrow button

Allows you to scale the gain of the EQ curve.

Inv

Inverts the current EQ curve.

DJ-EQ

Copy To

Copies the envelope to the same envelope in another group.

Reset

Resets the current EQ curve to its default state.

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

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EQ Plug-ins

• To set the Low, Mid, and Hi frequency bands, click and drag the EQ points.

• To fine-adjust the Low, Mid, and Hi frequency bands, press [Shift] and drag the EQ points.

• To set a parameter to zero, press [Ctrl]/[Command] and click it.

• To change the Gain values, click them and move the mouse up or down.

Low Gain

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

Low Kill (Activates Low Cut)

Cuts the low band.

Mid Gain

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

Mid Kill (Activates Mid Cut)

Cuts the mid band.

Hi Gain

Hi Kill (Activates High Cut)

Output meter

GEQ-10/GEQ-30

These graphic equalizers are identical, except for the number of available frequency bands (10 and 30).

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

Cuts the high band.

Indicates the level of the output signal.

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EQ Plug-ins

Each band can be attenuated or boosted by up to 12 dB, allowing for fine control of the frequency response. In addition, there are several preset modes available that can add color to the sound of GEQ-10/GEQ-30.

You can draw response curves in the main display by clicking and dragging with the mouse. You have to click one of the sliders before you drag across the display.

At the bottom of the window, the individual frequency bands are shown in Hz. At the top of the display, the amount of attenuation/boost is shown in dB.

Output

Sets the overall gain of the equalizer.

Flatten

Resets all the frequency bands to 0 dB.

Range

Allows you to adjust how much a set curve cuts or boosts the signal.

Invert

EQ Modes

Inverts the current response curve.

Mode pop-up menu

This pop-up menu allows you to set the filter mode that determines how the various frequency band controls interact to create the response curve.

The Mode pop-up menu in the lower right corner allows you to select an EQ mode, which add color or character to the equalized output in various ways.

True Response

Applies serial filters with an accurate frequency response.

Digi Standard

In this mode, the resonance of the last band depends on the sample rate.

Classic

Applies a classic parallel filter structure where the response does not follow the set gain values accurately.

VariableQ

Applies parallel filters where the resonance depends on the amount of gain.

ConstQ u

Applies parallel filters where the resonance of the first and last bands depends on the sample rate.

ConstQ s

Applies parallel filters where the resonance is raised when boosting the gain and vice versa.

Included Effect Plug-ins

NOTE

EQ Plug-ins

StudioEQ

Resonant

Applies serial filters where a gain increase of one band lowers the gain in adjacent bands.

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

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Gain (-20 to +24 dB)

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

Inv

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

Freq (20 to 2000 Hz)

Sets the frequency of the corresponding band. You can set the frequency either in Hz or as a note value. If you enter a note value, the frequency is automatically changed to Hz. For example, a note value of A3 sets the frequency to 440

Hz. When you enter a note value, you can also enter a cent

offset. For example, enter A5 -23 or C4 +49.

Ensure that you enter a space between the note and the cent offset. Only in this case, the cent offsets are taken into account.

Included Effect Plug-ins

PROCEDURE

EQ Plug-ins

Q-Factor

Controls the width, or resonance, of the corresponding band.

Filter mode

For the low and high band, you can choose between three types of shelving filters, a peak filter (band-pass), and a cut filter (lowpass/high-pass). If Cut mode is selected, the Gain parameter is fixed.

• Shelf I adds resonance in the opposite gain direction slightly above the

set frequency.

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

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

Output (-24 to +24 dB)

This knob on the top right of the plug-in panel allows you to adjust the overall output level.

Auto Gain

Spectrum

Reset

Making Settings

1. Click the corresponding On/Off button on the left of the plug-in panel to

2. Set the parameters for an activated EQ band.

If this button is activated, the gain is automatically adjusted, keeping the output level constant regardless of the EQ settings.

Shows the spectrum before and after filtering.

Resets the EQ settings.

activate any or all of the 4 equalizer bands (Low, Mid 1, Mid 2, and High).

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

This can be done in several ways:

• By using the knobs.

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

• By dragging points in the EQ curve display.

Using Modifier Keys

When using the mouse to change the parameter settings, modifier keys can be used. When no modifier key is pressed and you drag an EQ point in the display, the Gain and Frequency parameters are adjusted simultaneously.

Included Effect Plug-ins

Filter Plug-ins

[Shift]

[Alt]/[Option]

[Ctrl]/[Command]

Filter Plug-ins

DualFilter

If you keep [Shift] pressed and drag the mouse, the Q-factor of the corresponding EQ band is modified.

If you keep [Alt]/[Option] pressed and drag the mouse, the frequency of the corresponding EQ band is modified.

If you keep [Ctrl]/[Command] pressed and drag the mouse, the gain value of the corresponding EQ band is modified.

This plug-in filters out certain frequencies while allowing others to pass through.

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Position

Sets the filter cutoff frequency. If you set this to a negative value, DualFilter acts as a low-pass filter. Positive values cause DualFilter to act as a high-pass filter.

Resonance

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MorphFilter

Sets the sound characteristic of the filter. With higher values, a ringing sound is heard.

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

Included Effect Plug-ins

Filter Plug-ins

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1) High Pass (6, 12, 18, 24 dB per decade) Eliminates low-frequency signal components. Several filter slopes are

available.

2) Band Rejection (12, 24 dB/per decade) Lets all frequencies pass, except those in the stop band. Several filter slopes

are available.

3) Resonance Factor Changes the resonance value of the filters.

4) x/y control Adjusts the Morph Factor and the Frequency parameters simultaneously.

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

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

overall level of the edited event.

7) Frequency Adjusts the cutoff frequency of the filters.

Included Effect Plug-ins

Filter Plug-ins

PostFilter

8) Band Pass (12, 24 dB per decade) Allows signals falling within a certain frequency range to pass through.

Several filter slopes are available.

9) Low Pass (6, 12, 18, 24 dB per decade) Eliminates high-frequency signal components. Several filter slopes are

available.

This effect allows quick and easy filtering of unwanted frequencies, creating room for the important sounds in your mix.

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

Level meter

Shows the output level, giving you an indication of how the filtering affects the overall level of the edited audio.

Included Effect Plug-ins

NOTE

Filter Plug-ins

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

Allows you to eliminate low-frequency noise. The filter is inactive if the curve point is located all the way to the left. You can set the frequency either in Hz or as a note value. If you enter a note value, the frequency is automatically changed to Hz. For example, a note value of A3 sets the frequency to 440 When you enter a note value, you can also enter a cent offset. For example, enter A5 -23 or C4 +49.

Ensure that you enter a space between the note and the cent offset. Only in this case, the cent offsets are taken into account.

Low Cut Slope

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

Low Cut Preview

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

Hz.

Notch Freq

Sets the frequency of the notch filter. You can set the frequency either in Hz or as a note value. If you enter a note value, the frequency is automatically changed to Hz. For example, a note value of A3 sets the frequency to 440 When you enter a note value, you can also enter a cent offset. For example, enter A5 -23 or C4 +49.

Ensure that you enter a space between the note and the cent offset. Only in this case, the cent offsets are taken into account.

Notch Gain

Adjusts the gain of the selected frequency. Use positive values to identify the frequencies that you want to filter out.

Notch Gain Invert

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

Notch Q-Factor

Hz.

Sets the width of the notch filter.

Notch Preview

Use the Preview button between the notch filter buttons and the graphical display to create a band-pass filter with the peak filter's frequency and Q. This deactivates any other filters, allowing you to listen only to the frequencies you want to filter out.

Included Effect Plug-ins

NOTE

Filter Plug-ins

Notches buttons (1, 2, 4, 8)

These buttons add additional notch filters to filter out harmonics.

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

This high-cut filter allows you to remove high-frequency noise. The filter is inactive if the curve point is located all the way to the right. You can set the frequency either in Hz or as a note value. If you enter a note value, the frequency is automatically changed to Hz. For example, a note value of A3 sets the frequency to 440

Hz. When you enter a note value, you can also enter

a cent offset. For example, enter A5 -23 or C4 +49.

Ensure that you enter a space between the note and the cent offset. Only in this case, the cent offsets are taken into account.

High Cut Slope

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

StepFilter

High Cut Preview

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

This plug-in is a pattern-controlled multimode filter that can create rhythmic, pulsating filter effects.

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General Operation

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

Included Effect Plug-ins

NOTE

Filter Plug-ins

The horizontal axis shows the pattern steps 1 to 16 from left to right, and the vertical axis determines the (relative) filter cutoff frequency and resonance settings. The higher up on the vertical axis a step value is entered, the higher the relative filter cutoff frequency or filter resonance setting.

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

Setting Step Values

• To enter a step, click in the pattern grid windows.

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

• Change the value for a step by dragging it up or down.

• Draw in a curve by clicking and dragging in the display.

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

Selecting New Patterns

• Patterns are saved with the project, and up to 8 different cutoff and resonance patterns can be saved internally. Both the cutoff and resonance settings are saved together in the 8 pattern slots.

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

StepFilter Parameters

Base Cutoff

Sets the base filter cutoff frequency. Values set in the Cutoff grid are relative to the Base Cutoff value.

Base Resonance

Sets the base filter resonance. Values set in the Resonance grid are relative to the Base Resonance value.

Very high Base Resonance settings can produce loud ringing effects at certain frequencies.

Glide

Applies glide between the pattern steps, causing values to change more smoothly.

Filter mode

Use this slider to select a filter mode: low-pass, band-pass, or high-pass (from left to right).

Included Effect Plug-ins

PROCEDURE

Filter Plug-ins

Sync

If the Sync button to the right of the Sync pop-up menu is activated (yellow), the pattern playback is synchronized to the project tempo.

Use the pop-up menu to set the pattern beat resolution, that is, the note values the pattern plays in relation to the tempo (1/1 to 1/32, straight, triplet, or dotted).

Output

Sets the output level.

Mix

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

Creating Variations for StepFilter Patterns

You can copy a pattern of the StepFilter to another pattern slot. This is useful for creating variations on a pattern of this plug-in.

ToneBooster

1. Select the pattern that you want to copy.

2. Click the Copy button.

3. Select another pattern slot.

4. Click the Paste button.

RESULT

The pattern is copied to the new slot, and can now be edited to create variations.

ToneBooster is a filter that allows you to raise the gain in a selected frequency range. It is particularly useful if it is inserted before AmpSimulator in the plug-in chain, greatly enhancing the tonal varieties available.

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Tone

Sets the center filter frequency.

Included Effect Plug-ins

Filter Plug-ins

WahWah

Gain

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

Width

Sets the resonance of the filter.

Mode selector

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

Mastering Plug-ins

MIDI Control

Gain Lo/Hi

Set the gain of the filter for the Lo and Hi pedal positions.

Filter Slope selector

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

If side-chaining is supported, the Pedal parameter can also be controlled from another signal source via the side-chain input. The louder the signal, the more the filter frequency is raised so that the plug-in acts as an auto-wah effect. For a description of how to set up side-chain routing, see the “Operation Manual”.

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

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

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

Mastering Plug-ins

UV22HR

This is an advanced version of Apogee's renowned UV22 dithering algorithm, capable of dithering to 8, 16, 20, or 24

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bits.

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8, 16, 20, 24 bit

These buttons allow you to select the intended bit resolution for the final audio. As when using the internal dithering, it is important to set this to the correct resolution.

Applies a normal dither gain.

Included Effect Plug-ins

IMPORTANTIMPORTANTIMPORTANTIMPORTANT

Modulation Plug-ins

Applies a lower level of dither noise.

Auto black

If this option is activated, the dither noise is gated during silent passages.

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

Modulation Plug-ins

AutoPan

This plug-in is a simple auto-pan effect. It can use different waveforms to modulate the left-right stereo position (pan), using manual modulation speed settings.

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Rate

Sets the auto-pan speed.

Sync

Activates/Deactivates tempo sync.

Width

Sets the depth of the auto-pan effect, that is, how far out to the left/right speaker the sound should move.

Waveform Shape selector

Allows you to select the modulation waveform. Sine produces a smooth sweep. Triangle creates a ramp, that is, a sweep from one speaker to the other and then a quick jump back.

Included Effect Plug-ins

NOTE

Modulation Plug-ins

Chopper

If side-chaining is supported, the Width parameter can also be controlled from another signal source via the side-chain input. For a description of how to set up side-chain routing, see the “Operation Manual”.

This effect allows you to create a tremolo with or without an additional panning effect.

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Waveform

Allows you to select the modulation waveform.

Depth

Sets the intensity of the effect. This can also be set by clicking and dragging in the graphical display.

Sync

The button above the Speed knob activates/deactivates tempo sync.

Speed

If tempo sync is activated, this is where you specify the base note value for tempo-syncing the effect (1/1 to 1/32, straight, triplet, or dotted).

If tempo sync is deactivated, the tremolo speed can be set freely with the

Speed knob.

Mono

If this option is activated, Chopper acts as a tremolo effect only. If this option is deactivated, the modulation waveforms of the left and the right channel are phase-shifted, creating an additional panning effect.

Included Effect Plug-ins

Modulation Plug-ins

Chorus

Mix

This plug-in is a single-stage chorus effect. It works by doubling the audio that is sent into it with a slightly detuned version.

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Rate

If tempo sync is deactivated, this sets the sweep rate.

Sync

Activates/Deactivates tempo sync.

Width

Sets the depth of the chorus effect. Higher settings produce a more pronounced effect.

Spatial

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

Mix

Waveform Shape selector

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

Included Effect Plug-ins

NOTE

Modulation Plug-ins

Cloner

Delay

Affects the frequency range of the modulation sweep by adjusting the initial delay time.

Filter Lo/Hi

Allow you to roll off low and high frequencies of the effect signal.

If side-chaining is supported, the modulation can also be controlled from another signal source via the side-chain input. If the side-chain signal exceeds the threshold, the modulation is controlled by the side-chain signal’s envelope. For a description of how to set up side-chain routing, see the “Operation Manual”.

This plug-in adds up to 4 detuned and delayed voices to the signal, for rich modulation and chorus effects.

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Voices

Sets the number of voices (up to 4). For each voice, a Detune and a Delay slider are available in the right half of the panel.

Spatial

Spreads the voices across the stereo spectrum. Turn clockwise for a deeper stereo effect.

Mix

Output (-12 to 12 dB)

Sets the output gain.

Included Effect Plug-ins

Modulation Plug-ins

Detune slider (1 to 4)

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

Delay slider (1 to 4)

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

Natural

Changes the pitch algorithm.

Detune – Humanize

Controls the amount of detune variation if Static Detune is deactivated. With Humanize, the detune is continuously modulated for a more natural effect.

Static Detune

Activate this button to use a static detune amount.

Delay

Flanger

Governs the overall depth of the delay for all voices. If set to zero, no delay takes place regardless of the Delay slider settings.

Delay – Humanize

Controls the amount of delay variation if Static Delay is deactivated. With Humanize, the delay is continuously modulated for a more natural effect.

Static Delay

Activate this button to use a static delay amount.

This is a classic flanger effect with added stereo enhancement.

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Included Effect Plug-ins

NOTE

Modulation Plug-ins

Rate

If tempo sync is activated, this is where you specify the base note value for synchronizing the flanger sweep to the tempo of the host application (1/1 to 1/32, straight, triplet, or dotted).

If tempo sync is deactivated, the sweep rate can be set freely with the Rate knob.

Sync

Activates/Deactivates tempo sync.

Range Lo/Hi

Set the frequency boundaries for the flanger sweep.

Feedback

Determines the character of the flanger effect. Higher settings produce a more metallic sounding sweep.

Spatial

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

Mix

Waveform Shape selector

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

Delay

Affects the frequency range of the modulation sweep by adjusting the initial delay time.

Manual

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

If the Manual button is deactivated, a knob is available, allowing you to change the sweep position manually.

Filter Lo/Hi

Allow you to roll off low and high frequencies of the effect signal.

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Modulation Plug-ins

Metalizer

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

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Feedback

Determines the character of the metal effect. Higher settings produce a more metallic the sound.

Sharpness

Governs the character of the filter effect. The higher the value, the narrower the affected frequency area, producing a sharper sound and a more pronounced effect.

Tone

Governs the feedback frequency. The effect of this is more noticeable with high Feedback settings.

Activates/Deactivates filter modulation. If it is deactivated, Metalizer works as a static filter.

Mono

Switches the output to mono.

Speed

If tempo sync is activated, this is where you specify the base note value for synchronizing the effect to the tempo of the host application (1/1 to 1/32, straight, triplet, or dotted).

If tempo sync is deactivated, the modulation speed can be set freely with the

Speed knob.

Sync

Activates/Deactivates tempo sync.

Output

Sets the output level.

Included Effect Plug-ins

Modulation Plug-ins

Phaser

Mix

This plug-in produces the well-known swooshing phasing effect with additional stereo enhancement.

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Rate

If tempo sync is activated, this is where you specify the base note value for tempo-syncing the phaser sweep (1/1 to 1/32, straight, triplet, or dotted).

If tempo sync is deactivated, the sweep rate can be set freely with the Rate knob.

Sync

Activates/Deactivates tempo sync.

Width

Setts the intensity of the modulation effect between higher and lower frequencies.

Feedback

Determines the character of the phaser effect. Higher settings produce a more pronounced effect.

Spatial

If you are using multi-channel audio, the Spatial parameter creates a 3-dimensional impression by delaying modulation in each channel.

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NOTE

Modulation Plug-ins

Mix

Manual

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

If the Manual button is deactivated, a knob is available, allowing you to change the sweep position manually.

Filter Lo/Hi

Allow you to roll off low and high frequencies of the effect signal.

RingModulator

RingModulator can produce complex, bell-like enharmonic sounds.

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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.

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

Included Effect Plug-ins

Modulation Plug-ins

Oscillator

LFO Amount

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

Env. Amount

Controls how much the oscillator frequency is affected by the envelope that is triggered by the input signal. Left of center, a loud input signal decreases the oscillator pitch, whereas right of center the oscillator pitch increases if it is fed a loud input.

Waveform buttons

Allow you to select the oscillator waveform: square, sine, saw, or triangle.

Range slider

Determines the frequency range of the oscillator in Hz.

Frequency

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

LFO

Roll-Off

Attenuates high frequencies in the oscillator waveform, to soften the overall sound. This is best used with harmonically rich waveforms (square or saw, for example).

Speed

Sets the LFO speed.

Env. Amount

Controls how much the input signal level – via the envelope generator – affects the LFO speed. With negative values, a loud input signal slows down the LFO, whereas positive values speed it up at loud input signals.

Waveform

Allows you to select the LFO waveform: square, sine, saw, or triangle.

Invert Stereo

Inverts the LFO waveform for the right channel of the oscillator, which produces a wider stereo effect for the modulation.

Envelope Generator

The Envelope Generator section controls how the input signal is converted to envelope data, which can then be used to control oscillator pitch and LFO speed.

Attack

Controls how fast the envelope output level rises in response to a rising input signal.

Included Effect Plug-ins

Modulation Plug-ins

Final Settings

Decay

Controls how fast the envelope output level falls in response to a falling input signal.

Lock L<R

If this button is activated, the L and R input signals are merged, and produce the same envelope output level for both oscillator channels. If the button is deactivated, each channel has its own envelope that affects the two channels of the oscillator independently.

Output

Sets the output level.

Mix

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

Rotary

Speed

This modulation effect simulates the classic effect of a rotating speaker.

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A rotary speaker cabinet features speakers rotating at variable speeds to produce a swirling chorus effect, commonly used with organs.

Speed selector (stop/slow/fast)

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

Speed Change Mode

If this is set to the left, the speed selector settings are taken into account. If this is set to the right, you can modulate the speed with the Speed Mod knob and/or with a MIDI controller that you can select on the Speed Mod Control

(MIDI) pop-up menu.

Included Effect Plug-ins

Modulation Plug-ins

Speed Mod

Speed Mod Control (MIDI)

Additional settings

Overdrive

CrossOver

If the Speed Change Mode setting is set to the right side, this knob allows you to modulate the rotary speed.

This pop-up menu allows you to select the MIDI controller that controls the Rotary speed. If you do not want to use MIDI realtime control, set this to Automation. If you select Pitchbend as MIDI controller, the speed changes with an up or down flick of the bender. If other MIDI controllers are used, the speed changes at MIDI value 64.

Applies a soft overdrive or distortion.

Sets the crossover frequency (200 to 3000 Hz) between the low and high frequency loudspeakers.

Horn

Bass

Slow

Allows for a fine adjustment of the high rotor slow speed.

Fast

Allows for a fine adjustment of the high rotor fast speed.

Accel.

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

Amp Mod

Controls the high rotor amplitude modulation.

Freq Mod

Controls the high rotor frequency modulation.

Slow

Allows for a fine adjustment of the low rotor slow speed.

Fast

Allows for a fine adjustment of the low rotor fast speed.

Accel.

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

Included Effect Plug-ins

Modulation Plug-ins

Microphones

Amp Mod

Adjusts the modulation depth of the amplitude.

Level

Adjusts the overall bass level.

Phase

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

Angle

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

Distance

Sets the simulated microphone distance from the speaker in inches.

Final Settings

Output

Sets the output level.

Mix

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

Directing MIDI to the Rotary

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

• If Rotary is used as insert effect (for an audio track or an FX channel), it is

available on the Output Routing pop-up menu for MIDI tracks. If Rotary is selected on the Output Routing pop-up menu, MIDI is directed to the plug-in from the selected track.

StudioChorus

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

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Included Effect Plug-ins

NOTE

Modulation Plug-ins

Rate

If tempo sync is deactivated, this sets the sweep rate.

Sync

Activates/Deactivates tempo sync.

Width

Sets the depth of the chorus effect. Higher settings produce a more pronounced effect.

Spatial

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

Mix

Waveform Shape selector

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

Delay

Affects the frequency range of the modulation sweep by adjusting the initial delay time.

Filter Lo/Hi

Allow you to roll off low and high frequencies of the effect signal.

Included Effect Plug-ins

NOTE

Modulation Plug-ins

Tranceformer

In this ring modulator effect, 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.

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Waveform

These buttons allow you to select a pitch modulation waveform.

Tone

Sets the frequency (pitch) of the modulating oscillator.

Depth

Sets the intensity of the pitch modulation.

Clicking and dragging in the display allows you to adjust Tone and Depth at the same time.

Speed

If tempo sync is activated, this is where you specify the base note value for synchronizing the effect to the tempo of the host application (1/1 to 1/32, straight, triplet, or dotted).

If tempo sync is deactivated, the modulation speed can be set freely with the

Speed knob.

Sync

The button above the Speed knob activates/deactivates tempo sync.

Activates/Deactivates the modulation of the pitch parameter.

Mono

Switches the output to mono.

Included Effect Plug-ins

NOTE

Modulation Plug-ins

Tremolo

Output

Sets the output level.

Mix

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

Tremolo produces amplitude modulation.

Cubase LECubase AICubase

Elements Included with XXXXXX– Side-chain

support

–––XXX–

Cubase

Artist

Cubase

Pro

Nuendo NEK

Rate

If tempo sync is activated, this is where you specify the base note value for tempo-syncing the effect (1/1 to 1/32, straight, triplet, or dotted).

If tempo sync is deactivated, the modulation speed can be set freely with the

Rate knob.

Sync

Activates/Deactivates tempo sync.

Depth

Governs the depth of the amplitude modulation.

Spatial

Adds a stereo effect to the modulation.

Output

Sets the output level.

Included Effect Plug-ins

NOTE

Other Plug-ins

Vibrato

This effect creates pitch modulation.

Cubase LECubase AICubase

Elements Included with XXXXXX– Side-chain

support

–––XXX–

Cubase

Artist

Cubase

Pro

Nuendo NEK

Rate

If tempo sync is activated, this is where you specify the base note value for tempo-syncing the effect (1/1 to 1/32, straight, triplet, or dotted).

If tempo sync is deactivated, the modulation speed can be set freely with the

Rate knob.

Sync

Activates/Deactivates tempo sync.

Depth

Spatial

Other Plug-ins

LoopMash FX

LoopMash FX is a live performance effect offering DJ effects that can be controlled by a MIDI keyboard.

Sets the intensity of the pitch modulation.

Adds a stereo effect to the modulation.

100

Steinberg Cubase AI - 8.0, Cubase Artist - 8.0, Cubase LE - 8.0, Cubase Elements - 8.0, Cubase 8.0 Plug-in Reference

Specifications and Main Features

Frequently Asked Questions

User Manual

Table of Contents

Delay Plug-ins

Included Effect Plug-ins

Distortion Plug-ins

Dynamics Plug-ins

EQ Plug-ins

Filter Plug-ins

Mastering Plug-ins

Modulation Plug-ins

Other Plug-ins