Cristina Bachmann, Heiko Bischoff, Christina Kaboth, Insa Mingers, Matthias Obrecht, Sabine Pfeifer,
Benjamin Schütte, Marita Sladek
This PDF provides improved access for vision-impaired users. Please note that due to the complexity and
number of images in this document, it is not possible to include text descriptions of images.
The information in this document is subject to change without notice and does not represent a commitment
on the part of Steinberg Media Technologies GmbH. The software described by this document is subject to
a License Agreement and may not be copied to other media except as specifically allowed in the License
Agreement. No part of this publication may be copied, reproduced, or otherwise transmitted or recorded, for
any purpose, without prior written permission by Steinberg Media Technologies GmbH. Registered licensees
of the product described herein may print one copy of this document for their personal use.
All product and company names are ™ or ® trademarks of their respective owners. For more information,
please visit www.steinberg.net/trademarks.
157Arpache 5
159Arpache SX
162Auto LFO
163Beat Designer
170Chorder
175Compressor
175Context Gate
177Density
178MIDI Control
178MIDI Echo
181MIDI Modifiers
181MIDI Monitor
182Micro Tuner
183Note to CC
183Quantizer
184StepDesigner
188Track Control
191Transformer
193Included VST Instruments
193Groove Agent SE
193HALion Sonic SE
193LoopMash
207Mystic
221Padshop
221Prologue
238Retrologue
238Spector
252Functional Diagrams
254Index
Table of Contents
3
The included plug-in effects are arranged according to their categories.
NOTE
Most of the included effects are compatible with VST 3. For more information, see the
Operation Manual.
Delay 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.
Included Effect Plug-ins
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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.
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 plugin, 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.
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Delay Plug-ins
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.
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
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.
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Delay Plug-ins
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.
MonoDelay
This is a mono delay effect that can either be tempo-based or use freely specified delay time
settings.
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Side-chain
support
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.
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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
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.
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Delay Plug-ins
NOTE
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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Side-chain
support
NOTE
This plug-in works only on stereo tracks.
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.
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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.
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Delay Plug-ins
Spatial
Sets the stereo width for the left/right repeats. Turn clockwise for a more
pronounced stereo ping-pong effect.
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.
NOTE
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.
StereoDelay
StereoDelay has two independent delay lines which either use tempo-based or freely
specified delay time settings.
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NOTE
This plug-in works only on stereo tracks.
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.
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Sync
Activates/Deactivates tempo sync for the corresponding delay.
Feedback
Set the number of repeats for each delay.
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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
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.
NOTE
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.
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.
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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
BitCrusher
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 popup 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.
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.
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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.
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Spatial
Output
Grungelizer
Grungelizer adds noise and static to your recordings – like listening to a radio with bad
reception, or a worn and scratched vinyl record.
Changes the distortion characteristics of the left and right channels, thus
creating a stereo effect.
Sets the output level.
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Distortion Plug-ins
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).
Magneto II
Noise
Sets the amount of added static noise.
Distort
Adds distortion.
EQ
Cuts the low frequencies, and creates a hollow, lo-fi sound.
AC
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.
This effect simulates the saturation and compression of recording on analog tape machines.
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Distortion Plug-ins
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 Hz or 300 Hz. To avoid the saturation of very high frequencies, set the Freq
Hi parameter to values below 10 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.
VU Input/Output
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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Distortion Plug-ins
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.
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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 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 handles at the
sides of each frequency band.
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•To attenuate or boost the output level of each frequency band by ±15 dB, use the
handles on top of each frequency band.
Global Settings
SB
Switches between multi band and single band mode.
Scenes
You can save up to 8 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, indicating that this
scene 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.
Mix
Sets the level balance between the dry signal and the wet signal.
Output (-24 to 24 dB)
Sets the output level.
Band Settings
Mute
To mute each frequency band, activate the M button in each section.
Bypassing Frequency Bands
To bypass each frequency band, activate the Bypass Band button in each
section.
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.
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Tape
This band mode simulates the saturation and compression of recording on analog tape
machines.
Drive
Controls the amount of tape saturation.
Tape Mode Dual
Simulates the use of two machines.
Tube
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.
Dist
This band mode adds distortion to your tracks.
Drive
Controls the amount of distortion.
FBK
Feeds part of the output signal back to the effect input. Higher settings increase
the distortion effect.
Amp
This band mode simulates the sound of various types of guitar amps.
Drive
Controls the amount of amp overdrive.
Amp Types
You can select the following types of guitar amps:
•Amp Clean
•Amp Crunch
•Amp Lead
Dec
This band mode allows you to decimate and truncate the input audio signal to create a noisy,
distorted sound.
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Decimator
Controls the resulting bit-resolution. The lower the resolution, the higher the
distortion effect.
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
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.
Delay
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.
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.
NOTE
High FBK values and low Duck values in combination with activated Mode can lead to
unwanted noise.
Slider
Width
Sets the stereo width for the corresponding band.
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Out
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.
SoftClipper
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.
Mix
Sets the level balance between the dry signal and the wet signal.
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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.
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Sets the output level.
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Distortion Plug-ins
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.
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.
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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.
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.
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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.
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.
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Sync Mode
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.
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.
•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.
NOTE
•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.
Amplifiers
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.
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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.
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.
Microphones
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.
Placing the Microphone
•To select a microphone position, click the corresponding ball in the graphic. The
selected position is marked in red.
Master
Use the Master page to fine-tune the sound.
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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.
•To change the volume of the output signal, use the Level control on the Master page.
Configuration
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.
NOTE
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
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•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
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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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.
Pre/Post-Effects
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.
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.
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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.
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.
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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
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.
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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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.
Reset Sliders – 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.
•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.
NOTE
•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.
Amplifiers
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.
Greyhound
An amplifier, well known for its typical growl, useful for several playing styles.
GreenT
A classic amplifier from the 80s, useful for funk and rock playing styles.
Paradise
An amplifier from the 90s, with a hifi-like clear tone, that makes it applicable for
several styles.
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Tweed
A classic vintage amplifier from the 50s, with a characterful and bright tone.
Originally created for bassists, also used by many guitar players.
iTech
A modern amplifier, with a universal sound.
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.
NOTE
To scroll through amplifiers, use the mouse wheel when hovering over the amplifier panel.
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.
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
•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.
Microphones
On the Microphones page, you can choose between different microphone types.
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57
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.
5
Dynamic microphone with cardioid pickup pattern.
30
Reference and measurement microphone with omni directional polar pattern.
87
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.
NOTE
To scroll through microphones, use the mouse wheel when hovering over a microphone.
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
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•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.
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.
•
NOTE
Master EQ functions only when a cabinet is selected.
Configuration
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.
NOTE
In stereo mode, the effect requires more processing power. Use mono configuration on a
stereo track to save 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
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.
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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.
RELATED LINKS
Tuner on page 155
Dynamics Plug-ins
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 uses oversampling to detect and limit
signal levels between two samples to prevent distortion when converting digital
signals into analog signals.
NOTE
Brickwall Limiter is designed for the reduction of occasional peaks in the signal. If the GainReduction meter indicates constant limiting, try raising the threshold or lowering the overall
level of the input signal.
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Compressor
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
that is 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, Softknee/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 dB the input level increases, the output level
increases by 1 dB.
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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.
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.
DeEsser
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.
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 specific 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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Side-chain
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Close proximity microphone placement and equalizing can lead to situations where the
overall sound is just right, but there is a problem with sibilants.
Display
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.
Filter
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 displayed in Hz accordingly. 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.
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NOTE
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.
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 ssounds are removed, for example.
Dynamics
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.
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.
Side-Chain
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 displayed in Hz accordingly. 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.
NOTE
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
If this button is activated, the look-ahead feature of the effect is deactivated.
Look-ahead produces more accurate processing, but adds a specific amount
of latency as a trade-off. If Live mode is activated, there is no latency, which is
better for live processing.
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.
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.
NOTE
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.
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 Rise button is activated, the plug-in
automatically finds the best rise setting for the audio material.
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
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Dynamics Plug-ins
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 specific amount
of latency as a trade-off. If Live mode is activated, there is no latency, which is
better for live processing.
NOTE
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.
Gate
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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Attack (0.1 to 1000 ms)
Sets the time after which the gate opens when it is triggered.
NOTE
Deactivate the Live button to make sure that the gate is already open when a
signal above the threshold is played back.
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Hold (0 to 2000 ms)
Determines how long the gate remains open after the signal drops below the
threshold level.
Release (10 to 1000 ms or Auto mode)
Sets the time after which the gate closes (after the set Hold time). If Auto
Release is activated, Gate automatically finds the best release setting for the
audio material.
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).
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.
Range
Adjusts the attenuation of the gate when it is shut. If Range is set to minus
infinite , the gate is completely shut. The higher the value, the higher the level
of the signal that passes through the shut gate.
Live
If this button is activated, the look-ahead feature of the effect is deactivated.
Look-ahead produces more accurate processing, but adds a specific amount
of latency as a trade-off. If Live mode is activated, there is no latency, which is
better for live processing.
Side-Chain Section
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.
Monitor
Allows you to monitor the filtered signal.
Center (50 to 20000 Hz)
If the Side-Chain button is activated, this sets the center frequency of the filter.
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Q-Factor
If the Side-Chain button is activated, this sets the resonance or width of the filter.
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.
NOTE
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.
Limiter
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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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.
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Release (0.1 to 1000 ms or Auto mode)
Sets the time after which the gain returns to its original level. If Auto Release is
activated, the plug-in automatically finds the best release setting for the audio
material.
Output
Sets the maximum output level.
Maximizer
Maximizer raises the loudness of audio material without the risk of clipping. The plug-in
provides two modes, Classic and Modern, that offer different algorithms and parameters.
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Classic
Classic mode provides the classic algorithms from previous versions of this plug-
in. This mode is suited for all styles of music.
Modern
In Modern mode, the algorithm allows for more loudness than in Classic mode.
This mode is particularly suited for contemporary styles of music.
Modern mode also provides additional settings to control the release phase:
•Release sets the overall release time.
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•Recover allows for a faster signal recovering at the beginning of the
Optimize
Determines the loudness of the signal.
Mix
Sets the level balance between the dry signal and the wet signal.
Output
Sets the maximum output level.
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.
MIDI Gate
release phase.
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.
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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.
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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
•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.
PROCEDURE
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.
Applying MIDI Gate
and Release parameters, regardless of the length of the MIDI note that
triggered the gate.
plays. The Hold and Release parameters are applied once a note-off signal
has been received.
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.
PROCEDURE
1.If you use realtime MIDI to trigger the plug-in, make sure the MIDI track is selected.
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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.
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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NOTE
To compensate for output gain loss that is caused by compression, MultibandCompressor
uses an automatic make-up gain. If side-chaining is activated for a frequency band in the
side-chain section, the automatic make-up gain is deactivated for this 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 handles at the
sides of each frequency band.
•To attenuate or boost the gain of the frequency bands by ±15 dB after compression, use
the handles at the top of each frequency band.
Live
If this button is activated, the look-ahead feature of the effect is deactivated.
Look-ahead produces more accurate processing, but adds a specific amount
of latency as a trade-off. If Live mode is activated, there is no latency, which is
better for live processing.
Bypassing Frequency Bands
To bypass each frequency band, activate the Bypass Band button in each
section.
Soloing Frequency Bands
To solo a frequency band, activate the S button in each section. Only one band can
be soloed at a time.
Output (-24 to 24 dB)
Sets the output level.
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)
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.
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.
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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.
Side-Chain Section
To open the side-chain section, click the SC button at the bottom left of the plug-in window.
IMPORTANT
To be able to use the side-chain function for the bands, global side-chain must be activated
for the plug-in.
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 side-chain signal can then be shaped
according to the filter parameter.
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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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. 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 handles at the
sides of each frequency band.
•To attenuate or boost the gain of the frequency band, use the handles at the top of each
frequency band.
Live
If this button is activated, the look-ahead feature of the effect is deactivated.
Look-ahead produces more accurate processing, but adds a specific amount
of latency as a trade-off. If Live mode is activated, there is no latency, which is
better for live processing.
Bypassing Frequency Bands
To bypass each frequency band, activate the Bypass Band button in each
section.
Soloing Frequency Bands
To solo a frequency band, activate the S button in each section. Only one band can
be soloed at a time.
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Output (-24 to 24 dB)
Sets the output level.
Shaper Section
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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Included Effect Plug-ins
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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 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 handles at the
sides.
•To attenuate or boost the gain of the frequency band after expansion, use the handles
on top of each frequency band.
Live
If this button is activated, the look-ahead feature of the effect is deactivated.
Look-ahead produces more accurate processing, but adds a specific amount
of latency as a trade-off. If Live mode is activated, there is no latency, which is
better for live processing.
Bypassing Frequency Bands
To bypass each frequency band, activate the Bypass Band button in each
section.
Soloing Frequency Bands
To solo a frequency band, activate the S button in each section. Only one band can
be soloed at a time.
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Output (-24 to 24 dB)
Sets the output level.
Expander Section
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)
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 Rise button is activated, the plug-in
automatically finds the best rise setting for the audio material.
Output
Sets the output level.
Side-Chain Section
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.
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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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Side-chain
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Drive (1.0 to 6.0)
Controls the amount of tube saturation.
Input
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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.
Output (-12 to 12 dB)
Sets the output gain.
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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
Shows the amount of gain reduction.
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.
Side-chain section
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.
VintageCompressor
VintageCompressor is modeled after vintage type compressors.
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Side-chain
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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.
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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.
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Dynamics Plug-ins
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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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.
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Gate Section
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.
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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 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 2000 ms)
Determines how long the gate remains open after the signal drops below the
threshold level.
Release (10 to 1000 ms or Auto mode)
Sets the time after which the gate closes after the set Hold time. If the Auto
button is activated, the plug-in automatically finds the best release setting for the
audio material.
Range
Adjusts the attenuation of the gate when it is shut. If Range is set to minus
infinite , the gate is completely shut. The higher the value, the higher the level
of the signal that passes through the shut gate.
Input Gain Meter
Shows the input gain.
Compressor Section
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 compression. If the Auto button is
activated, the knob becomes dark and the output is automatically adjusted for
gain loss.
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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.
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.
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.
Limiter Section
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
Sets the maximum output level.
Soft Clip
If this button is activated, the signal is limited when the signal level exceeds
-6 dB. At the same time, harmonics are generated, adding a warm, tube-like
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)
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EQ 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.
DJ-EQ
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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.
For detailed information about CurveEQ and its parameters, refer to the documentation
provided by Voxengo at http://www.voxengo.com.
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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•To set the Low, Mid, and Hi frequency bands, click and drag the EQ points.
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•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/Cmd 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
Sets the amount of boost or attenuation for the high band.
Hi Kill (Activates High Cut)
Cuts the high band.
Output meter
Indicates the level of the output signal.
GEQ-10/GEQ-30
These graphic equalizers are identical, except for the number of available frequency bands
(10 and 30).
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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
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.
EQ Modes
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.
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Included Effect Plug-ins
EQ Plug-ins
Resonant
Applies serial filters where a gain increase of one band lowers the gain in
adjacent bands.
StudioEQ
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.
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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 20000 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.
NOTE
Ensure 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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Included Effect Plug-ins
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
•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
frequency.
Spectrum
Reset
Making Settings
PROCEDURE
1.Click the corresponding On/Off button on the left of the plug-in panel to activate any or
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.
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.
Shift
If you keep Shift pressed and drag the mouse, the Q-factor of the corresponding
EQ band is modified.
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Included Effect Plug-ins
EQ Plug-ins
Alt
If you keep Alt pressed and drag the mouse, the frequency of the corresponding
EQ band is modified.
Ctrl/Cmd
If you keep Ctrl/Cmd pressed and drag the mouse, the gain value of the
corresponding EQ band is modified.
Frequency
Frequency is a high-quality equalizer with 8 fully parametric bands. The bands can act as
either shelving filter, as peak or notch filter (band-pass), or as cut filter (low-pass/highpass).
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Main Layout
Reset
Resets all parameter values.
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Included Effect Plug-ins
EQ Plug-ins
Auto Listen for Filters
If this option is activated and you edit a parameter of a band, the corresponding
frequency range is isolated. This helps you to focus on a particular frequency
range and allows you to locate unwanted frequencies in your audio.
Global Settings
Opens the settings dialog for the spectrum display.
Show/Hide Keyboard
Shows/Hides the keyboard below the graphical editor.
On the keyboard, color indicators reflect the center frequencies of all active
equalizer bands. You can adjust the frequency of a band by dragging its color
indicator. If you drag the color indicator of a band to a key, the band is set to its
exact frequency.
Output
Adjusts the overall output level.
Band Settings
On/Off
Activates/Deactivates the corresponding band.
Processing Switches
Allow you to switch between left/right, stereo, and mid/side processing. In Left/
Right or Mid/Side processing mode, you can make different settings for the two
channels.
NOTE
This setting is only available for stereo tracks.
Linear Phase
Activates/Deactivates linear phase mode for the corresponding band.
Linear phase mode avoids unwanted frequency dependent phase shifts of the
audio signal that might occur with standard minimum phase equalizing.
NOTE
•Linear phase mode leads to an increase in latency.
•In rare cases, for example, when using low cut filtering with a high slope
for bass signals, also an unwanted pre-ringing effect may be audible.
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Included Effect Plug-ins
EQ Plug-ins
Equalizer Section
Type
You can choose between the EQ types Low Shelf, Peak, High Shelf, and Notch.
For band 1 and 8, you can also select the types Cut 6, Cut 12, Cut 24, Cut 48, and
Cut 96.
•Low Shelf boosts or attenuates frequencies below the cutoff frequency by
the specified amount.
•Peak boosts or attenuates frequencies at the set frequency value with a
bell shaped filter.
•High Shelf boosts or attenuates frequencies above the cutoff frequency by
the specified amount.
•Notch boosts or attenuates frequencies at the set frequency value with a
very narrow filter.
•Cut attenuates frequencies below (band 1) or above (band 8) the set
frequency. You can choose between different slopes: 6 dB, 12 dB, 24 dB, 48
dB, or 96 dB per octave.
FREQ
Sets the center frequency of the corresponding band.
If the band is active, the frequency value is reflected as a highlighted key on the
keyboard below the graphical editor.
Q
For Peak and Notch filters, this parameter controls the width of the band. For
Low Shelf and High Shelf filters, it adds a drop or a boost, depending on the gain
setting of the band. For Cut filters, it adds a resonance.
NOTE
This parameter is not available for Cut 6 filters.
Gain
Sets the amount of attenuation/boost for the corresponding band.
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EQ Plug-ins
Invert Gain
Inverts the value of the gain parameter. Positive gain values become negative and
vice versa.
Global Settings
To open the Global Settings, click Global Settings above the spectrum display.
•
Spectrum Display
Show Spectrum
Activates/Deactivates the spectrum display.
Peak Hold
Holds the peak values of the spectrum display for a short time.
Smooth
Determines the reaction time of the spectrum display. Lower values result in
faster reaction times.
Bar Graph
If this option is activated, the frequency spectrum is analyzed into 60 separate
bands that are displayed as vertical bars.
Two Channels
If this option is activated, the spectrum of the left and right channels are
displayed separately.
Slope
Tilts the spectrum display around the 1 kHz pivot.
EQ Curve
Show Curve
Shows/Hides the EQ curve in the spectrum display.
Filled
If this option is activated, the EQ curve is filled. Amount allows you to specify the
degree of coverage between 10 and 80 %.
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Included Effect Plug-ins
Filter Plug-ins
Filter Plug-ins
DualFilter
This plug-in filters out specific 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
Sets the sound characteristic of the filter. With higher values, a ringing sound is
heard.
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MorphFilter
This plug-in lets you mix low-pass, high-pass, band-pass, and band-reduction filter effects,
allowing for creative morphings between two filters.
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Included Effect Plug-ins
Filter Plug-ins
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.
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.
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Included Effect Plug-ins
Filter Plug-ins
PostFilter
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.
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 Hz. When you enter
a note value, you can also enter a cent offset. For example, enter A5 -23 or C4
+49.
NOTE
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.
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Included Effect Plug-ins
Filter Plug-ins
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.
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 Hz. When you enter
a note value, you can also enter a cent offset. For example, enter A5 -23 or C4
+49.
NOTE
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
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.
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.
NOTE
Ensure 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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Included Effect Plug-ins
Filter Plug-ins
High Cut Slope
Allows you to choose a slope value for the high-cut filter.
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.
StepFilter
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.
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 set by
clicking in an empty grid box. By click-dragging left or right, consecutive step entries
are set at the pointer position.
•Change the value for a step by dragging it up or down.
•Draw in a curve by clicking and dragging in the display.
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Filter Plug-ins
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.
NOTE
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).
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.
PROCEDURE
1.Select the pattern that you want to copy.
2.Click the Copy button.
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Included Effect Plug-ins
Filter Plug-ins
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
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.
Gain
Adjusts the gain of the selected frequency range by up to 24 dB.
Width
Sets the resonance of the filter.
Mode selector
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WahWah
Sets the basic operational mode of the filter: Peak or Band Mode.
RELATED LINKS
AmpSimulator on page 10
This plug-in is a variable slope band-pass filter that can be auto-controlled by a side-chain
signal (if supported) or via MIDI modeling the well-known analog pedal effect.
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Included Effect Plug-ins
Filter Plug-ins
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Side-chain
support
You can independently specify the frequency, width, and the gain for the Lo and Hi Pedal
positions. The crossover point between the Lo and Hi Pedal positions lies at 50.
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WahWah Parameters
Pedal
Controls the filter frequency sweep.
Pedal Control (MIDI)
Allows you to choose the MIDI controller that controls the plug-in. Set this to
Automation if you do not want to use MIDI realtime control.
Freq Lo/Hi
Set the frequency of the filter for the Lo and Hi pedal positions.
Width Lo/Hi
Set the width (resonance) of the filter for the Lo and Hi pedal positions.
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.
NOTE
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 sidechain routing, see the Operation Manual.
MIDI Control
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.
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Mastering Plug-ins
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 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.
Hi
Applies a normal dither gain.
Lo
Applies a lower level of dither noise.
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Auto black
If this option is activated, the dither noise is gated during silent passages.
IMPORTANT
Dithering should always be applied post-fader on an output bus.
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Included Effect Plug-ins
Modulation Plug-ins
Modulation Plug-ins
AutoPan
This auto-pan effect provides several parameters to modulate the left/right stereo position.
You can use presets or create individual curves for the modulation waveform. The plug-in
also allows for chopping effects by linking the modulation of left and right channel.
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Side-chain
support
NOTE
The panning effect of this plug-in works only on stereo tracks.
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Waveform display
Shows the shape of the modulation waveform and allows you to manually adjust
the shape of the waveform. To draw an individual curve, click a node and move
the mouse. To draw a straight line, Shift-click a node and move the mouse.
Waveform presets
Allows you to select presets for the modulation waveform.
•Sine creates a smooth sweep.
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Modulation Plug-ins
•Triangle creates a ramp, that is, a linear movement from full right to full
•Pulse creates an instant jump to full right, then to full left, and then back to
•Random One Shot creates a random curve. Click this button again to create
•Random Continuous automatically creates a new random curve after each
Phase
Sets the offset for the starting point of the curve. If multiple AutoPan plug-ins
are used on different tracks, for example, different offset settings for each track
allow for a more organic overall sound.
Factor
If Sync is activated, this parameter multiplies the sync rate by the selected factor.
This allows you to create very slow movements in panorama.
Rate
left and back.
center.
a new random curve.
period.
Sets the auto-pan speed and shows the movement within the panorama. If Sync
is deactivated, the speed is set in Hertz. If Sync is activated, you can set the speed
in tempo values.
Sync
Activates/Deactivates tempo sync.
Link
If this button is activated, left and right channel are modulated simultaneously.
This results in a chopping effect instead of auto-panning.
In this mode, Width sets the intensity of the volume modulation.
Width
Sets the amount of deflection to the left and right side of the stereo panorama. If
Link is activated, this parameter sets the intensity of the volume modulation.
NOTE
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.
Smooth
Allows you to smooth the transition between individual steps of the panorama
curve.
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Included Effect Plug-ins
Modulation Plug-ins
Chopper
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.
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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.
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.
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Modulation Plug-ins
Chorus
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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Side-chain
support
Rate
If tempo sync is deactivated, this sets the sweep rate.
Sync
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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
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.
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.
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Modulation Plug-ins
Filter Lo/Hi
Allow you to roll off low and high frequencies of the effect signal.
NOTE
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.
Cloner
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.
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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.
Output (-12 to 12 dB)
Sets the output gain.
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.
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Modulation Plug-ins
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
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
Flanger
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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Side-chain
support
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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
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.
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.
NOTE
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.
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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 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.
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Tone
Governs the feedback frequency. The effect of this is more noticeable with high
Feedback settings.
On
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.
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Included Effect Plug-ins
Modulation Plug-ins
Output
Sets the output level.
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.
Phaser
This plug-in produces the well-known swooshing phasing effect with additional stereo
enhancement.
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Side-chain
support
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).
–––XXX–
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If tempo sync is deactivated, the sweep rate can be set freely with the Rate knob.
Sync
Activates/Deactivates tempo sync.
Width
Sets 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 3dimensional impression by delaying modulation in each channel.
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Included Effect Plug-ins
Modulation 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.
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.
NOTE
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.
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.
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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.
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).
LFO
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.
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Modulation Plug-ins
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.
Final Settings
Output
Sets the output level.
Mix
Sets the level balance between the dry signal and the wet signal.
Rotary
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.
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Speed
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) popup menu.
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Included Effect Plug-ins
Modulation Plug-ins
Speed Mod
If the Speed Change Mode setting is set to the right side, this knob allows you to
modulate the rotary speed.
Speed Mod Control (MIDI)
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.
Additional settings
Overdrive
Applies a soft overdrive or distortion.
CrossOver
Sets the crossover frequency (200 to 3000 Hz) between the low and high
frequency loudspeakers.
Horn
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.
Bass
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.
Amp Mod
Adjusts the modulation depth of the amplitude.
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Modulation Plug-ins
Level
Adjusts the overall bass level.
Microphones
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
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
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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Sets the level balance between the dry signal and the wet signal.
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.
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Side-chain
support
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Included Effect Plug-ins
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
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.
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.
NOTE
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.
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Included Effect Plug-ins
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
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Sets the intensity of the pitch modulation.
NOTE
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.
On
Activates/Deactivates the modulation of the pitch parameter.
Mono
Switches the output to mono.
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Modulation Plug-ins
Output
Sets the output level.
Mix
Sets the level balance between the dry signal and the wet signal.
Tremolo
Tremolo produces amplitude modulation.
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Elements
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Side-chain
support
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
–––XXX–
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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.
NOTE
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.
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Included Effect Plug-ins
Modulation Plug-ins
Vibrato
This effect creates pitch modulation.
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Elements
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Side-chain
support
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.
–––XXX–
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Artist
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Sync
Activates/Deactivates tempo sync.
Depth
Sets the intensity of the pitch modulation.
Spatial
Adds a stereo effect to the modulation.
NOTE
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.
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Included Effect Plug-ins
Other Plug-ins
Other Plug-ins
LoopMashFX
LoopMashFX is a live performance effect offering DJ effects that can be controlled by a MIDI
keyboard.
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Elements
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Quantize Note
Sets the note value on which the quantize grid of the effects is based.
Performance Controls
By clicking these buttons during playback, you can apply effects to your overall performance.
An effect is applied as long as you keep the button pressed.
NOTE
The effects can be automated. The automation of effect parameters is described in the
Operation Manual.
Backspin
Simulates a turntable backspin.
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