Steinberg Cubase AI - 9.0, Cubase 9.0 Plug-in Reference

Plug-in Reference

Cristina Bachmann, Heiko Bischoff, Christina Kaboth, Insa Mingers, Matthias Obrecht, Sabine Pfeifer, Benjamin Schütte, Marita Sladek

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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.

©

Steinberg Media Technologies GmbH, 2016.

4 Included Effect Plug-ins

4 Delay Plug-ins 10 Distortion Plug-ins 36 Dynamics Plug-ins 64 EQ Plug-ins 73 Filter Plug-ins 81 Mastering Plug-ins 82 Modulation Plug-ins 100 Other Plug-ins 103 Pitch Shift Plug-ins 107 Reverb Plug-ins 124 Spatial + Panner Plug-ins 137 Surround Plug-ins 148 Tools Plug-ins

157 MIDI Effects

157 Arpache 5 159 Arpache SX 162 Auto LFO 163 Beat Designer 170 Chorder 175 Compressor 175 Context Gate 177 Density 178 MIDI Control 178 MIDI Echo 181 MIDI Modifiers 181 MIDI Monitor 182 Micro Tuner 183 Note to CC 183 Quantizer 184 StepDesigner 188 Track Control 191 Transformer

193 Included VST Instruments

193 Groove Agent SE 193 HALion Sonic SE 193 LoopMash 207 Mystic 221 Padshop 221 Prologue 238 Retrologue 238 Spector 252 Functional Diagrams

254 Index

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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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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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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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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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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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 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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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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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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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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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.

Included with – – – X X X –

right of the plug-in frame.

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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.

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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.

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 Gain Reduction 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, Soft knee/Hard knee compression modes, and a program-dependent auto feature for the Release parameter.

Threshold (-60 to 0 dB)

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

Ratio

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

support

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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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Side-chain

support

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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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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Side-chain

support

– – – – X X –

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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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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.

Included with – – – – X X –

Side-chain

support

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Elements

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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

support

Drive (1.0 to 6.0)

Controls the amount of tube saturation.

Input

– – – X X X –

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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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Elements

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Included Effect Plug-ins Dynamics Plug-ins

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Elements

Side-chain

support

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.

– – – X X X –

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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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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

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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Included with X X X X X X –

• 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).

Included with –/– –/– –/– X/– X/X X/X –/–

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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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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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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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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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Elements

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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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Included Effect Plug-ins 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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Elements

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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.

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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Elements

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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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Elements

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Side-chain

support

NOTE

The panning effect of this plug-in works only on stereo tracks.

– – – X X X –

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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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Included Effect Plug-ins 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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Included Effect Plug-ins 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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Elements

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Side-chain

support

Rate

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

Sync

– – – X X X –

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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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Included Effect Plug-ins 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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Elements

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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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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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Elements

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Side-chain

support

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Included Effect Plug-ins 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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Included Effect Plug-ins 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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Elements

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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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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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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 phaser sweep (1/1 to 1/32, straight, triplet, or dotted).

– – – X X X –

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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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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.

Included with – X X X X X –

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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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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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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Elements

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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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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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Included Effect Plug-ins 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).

Included with – – – – X X –

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.

CubaseLECubaseAICubase

Elements

Cubase

Artist

Cubase

Pro

Nuendo NEK

Side-chain

support

– – – – X X –

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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.

CubaseLECubaseAICubase

Elements

Included with – X X X X X –

Waveform

These buttons allow you to select a pitch modulation waveform.

Tone

Sets the frequency (pitch) of the modulating oscillator.

Depth

Cubase

Artist

Cubase

Pro

Nuendo NEK

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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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.

Tremolo

Tremolo produces amplitude modulation.

CubaseLECubaseAICubase

Elements

Included with X X X X X X –

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

– – – X X X –

Cubase

Artist

Cubase

Pro

Nuendo NEK

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.

CubaseLECubaseAICubase

Elements

Included with X X X X X X –

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.

– – – X X X –

Cubase

Artist

Cubase

Pro

Nuendo NEK

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

LoopMashFX

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

CubaseLECubaseAICubase

Elements

Included with – – – X X X –

Cubase

Artist

Cubase

Pro

Nuendo NEK

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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Steinberg Cubase AI - 9.0, Cubase 9.0 Plug-in Reference

Specifications and Main Features

Frequently Asked Questions

User Manual

Table of Contents

Delay Plug-ins

ModMachine

Included Effect Plug-ins

MonoDelay

PingPongDelay

StereoDelay

Distortion Plug-ins

AmpSimulator

BitCrusher

DaTube

Distortion

Grungelizer

Magneto II

Quadrafuzz v2

SoftClipper

VST Amp Rack

VST Bass Amp

Dynamics Plug-ins

Brickwall Limiter

Compressor

DeEsser

EnvelopeShaper

Expander

Gate

Limiter

Maximizer

MIDI Gate

Setting Up MIDI Gate

Applying MIDI Gate

MultibandCompressor

MultibandEnvelopeShaper

MultibandExpander

Tube Compressor

VintageCompressor

VSTDynamics

EQ Plug-ins

CurveEQ

DJ-EQ

GEQ-10/GEQ-30

StudioEQ

Making Settings

Using Modifier Keys

Frequency

Global Settings

Filter Plug-ins

DualFilter

MorphFilter

PostFilter

StepFilter

Creating Variations for StepFilter Patterns

ToneBooster

WahWah

Mastering Plug-ins

UV22HR

Modulation Plug-ins

AutoPan

Chopper

Chorus

Cloner

Flanger

Metalizer

Phaser

RingModulator

Rotary

StudioChorus

Tranceformer

Tremolo

Vibrato

Other Plug-ins