Steinberg Cubase Artist - 6.0, Cubase 6.0 Plug-in Reference

Plug-in Reference

Cristina Bachmann, Heiko Bischoff, Marion Bröer, Sabine Pfeifer, Heike Schilling 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. Windows 7 is a registered trademark or trademark of Microsoft Corporation in the United States and/or other countries. The Mac logo is a trademark used under license. Macintosh and Power Macintosh are registered trademarks. MP3SURROUND and the MP3SURROUND logo are registered trademarks of Thomson SA, registered in the US and other countries, and are used under license from Thomson Licensing SAS.

5 The included effect plug-ins

6 Introduction 6 Delay plug-ins 9 Distortion plug-ins 15 Dynamics plug-ins 23 EQ plug-ins 25 Filter plug-ins 30 Modulation plug-ins 37 Pitch Shift plug-ins 39 Reverb plug-ins 46 Spatial + Panner plug-ins 47 Surround plug-ins (Cubase only) 48 Tools plug-ins

74 The included VST instruments

75 Introduction 75 Embracer – Surround Pad Synthesizer

(Cubase only)

77 Groove Agent ONE 81 HALion Sonic SE 82 LoopMash 90 Monologue – Monophonic Analog Modeling

Synthesizer (Cubase only)

92 Mystic 100 Prologue 110 Spector 118 Diagrams

52 MIDI effects

53 Introduction 53 Arpache 5 54 Arpache SX 55 Auto LFO 56 Beat Designer 61 Chorder 63 Compressor 64 Context Gate 65 Density 65 Micro Tuner 65 MIDI Control 66 MIDI Echo 67 MIDI Modifiers 67 MIDI Monitor 68 Note to CC 68 Quantizer 69 StepDesigner 71 Track Control 73 Transformer

120 Index

Table of Contents

The included effect plug-ins

Introduction

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

In Cubase, the plug-in effects are arranged in a number of different categories. This chapter is arranged in the same fashion, with the plug-ins listed in separate sections for each effect category.

Ö Most of the included effects are compatible with VST3, this is indicated by an icon in front of the name of the plug-in as displayed in plug-in selection menus (for further information, see the chapter “Audio effects” in the Operation Manual).

Delay plug-ins

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

ModMachine (Cubase only)

ModMachine combines delay modulation and filter frequency/resonance modulation and can provide many interesting modulation effects. It also features a Drive parameter for distortion effects.

The following parameters are available:

Parameter Description

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

Delay – Sync button

Rate The Rate parameter sets the base note value for tempo

Rate – Sync button

Width Sets the amount of delay pitch modulation. Note that al-

Feedback Sets the number of repeats for the delay. Drive Adds distortion to the feedback loop. The longer the

Mix Sets the level balance between the dry and the wet sig-

Nudge button Clicking the Nudge button once will momentarily speed

Signal path graphic and Filter position

Filter type (in graphic display)

Freq Sets the cutoff frequency for the filter. It is only available

Speed Sets the speed of the filter frequency LFO modulation.

Speed – Sync button

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

The button below the Delay knob is used to switch tempo sync for the Delay parameter on or off.

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

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

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

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

nal. If ModMachine is used as a send effect, set this to the maximum value (100 effect balance with the send.

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

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 on the Filter section displayed in the graphic or click on the Position field at the bottom right of the graphic.

The Type button allows you to select a filter type. A lowpass, band-pass, and high-pass filter are available.

if tempo sync for the Speed parameter (see below) is deactivated and the parameter is set to “0”.

When using tempo sync, the Speed parameter sets the base note value for tempo syncing the modulation (1/1 to 1/32, straight, triplet, or dotted). If tempo sync is off, the speed can be set freely.

The button below the Speed knob is used to switch tempo sync for the Speed parameter on or off.

%) as you can control the dry/

The included effect plug-ins

Parameter Description

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

Spatial Introduces an offset between the channels to create a

Q-Factor Controls the resonance of the filter. It is only available if

Speed Sets the speed of the filter resonance LFO modulation.

Speed – Sync button

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

Spatial Introduces an offset between the channels to create a

quency modulation. Both positive (e. g. Lo set to 50 and Hi set to 10000) and negative (e. Hi set to 500) ranges can be set. If tempo sync is off and the Speed is set to zero, these parameters are inactive and the filter frequency is controlled by the Freq parame ter instead.

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

filter resonance LFO tempo sync is deactivated and the Speed parameter (see below) is set to “0”. When using tempo sync, the resonance is controlled by the Speed and Range parameters.

When using tempo sync, the Speed parameter sets the base note value for tempo syncing the modulation (1/1 to 1/32, straight, triplet, or dotted). If tempo sync is off, the speed can be set freely.

The button below the Speed knob is used to switch tempo sync for the Speed parameter on or off.

modulation. Both positive (e. to 100) and negative (e.

50) ranges can be set. If tempo sync is off and the Speed is set to zero, these parameters are inactive and the filter resonance is controlled by the Q-Factor pa rameter instead.

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

g. Lo set to 5000 and

g. Lo set to 50 and Hi set

g. Lo set to 100 and Hi set to

MonoDelay

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

The following parameters are available:

Parameter Description

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

Sync button The button below the Delay knob is used to switch tempo

Feedback Sets the number of repeats for the delay. Filter Lo This filter affects the feedback loop of the effect signal

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

Mix Sets the level balance between the dry and the wet sig-

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

sync on or off.

and allows you to roll off low frequencies from 10

Hz. The button below the knob activates/deactivates

800 the filter.

and allows you to roll off high frequencies from 20 down to 1.2 deactivates the filter.

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

kHz. The button below the knob activates/

Hz up to

kHz

Ö The delay can also be controlled from another signal source via the side-chain input. When the side-chain signal exceeds the threshold, the delay repeats are silenced. When the signal drops below the threshold, the delay re peats reappear. For a description of how to set up sidechain routing, see the chapter “Audio effects” in the Oper ation Manual.

The included effect plug-ins

PingPongDelay

This is a stereo delay effect that alternates each delay repeat between the left and right channels. The effect can either be tempo-based or use freely specified delay time settings.

The following parameters are available:

Parameter Description

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

Sync button The button below the Delay Time knob is used to switch

Feedback Sets the number of repeats for the delay. Filter Lo This filter affects the feedback loop and allows you to roll

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

Spatial Sets the stereo width for the left/right repeats. Turn

Mix Sets the level balance between the dry and the wet sig-

Ö The delay can also be controlled from another signal source via the side-chain input. When the side-chain sig nal exceeds the threshold, the delay repeats are silenced. When the signal drops below the threshold, the delay re peats reappear. For a description of how to set up sidechain routing, see the chapter “Audio effects” in the Oper ation Manual.

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

tempo sync on or off.

off low frequencies up to 800 knob activates/deactivates the filter.

off high frequencies from 20 button below the knob activates/deactivates the filter.

clockwise for a more pronounced stereo “ping-pong” ef fect.

nal. If PingPongDelay is used as a send effect, set this to the maximum value as you can control the dry/effect bal ance with the send.

Hz. The button below the

kHz down to 1.2 kHz. The

StereoDelay

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

The following parameters are available:

Parameter Description

Delay 1 & 2 If tempo sync is on, this is where you specify the base

Sync button The buttons below the Delay knobs are used to turn

Feedback 1 & 2

Filter Lo 1 & 2

Filter Hi 1 & 2

Pan 1 & 2 These controls are used to set the stereo position for

Mix 1 & 2 Use these controls to set the level balance between the

Ö The delay can also be controlled from another signal source via the side-chain input. When the side-chain signal exceeds the threshold, the delay repeats are silenced.

When the signal drops below the threshold, the delay re peats reappear. For a description of how to set up sidechain routing, see the chapter “Audio effects” in the Oper ation Manual.

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

tempo sync on or off for the respective delay. The Feedback controls set the number of repeats for

each delay. These filters affect the feedback loop and allow you to roll

off low frequencies up to 800 knobs activate/deactivate the filter.

These filters affect the feedback loop and allow you to roll off high frequencies from 20 buttons below the knobs activate/deactivate the filter.

each delay.

dry and the wet signal. If StereoDelay is used as a send effect, set them to the maximum value (100 control the dry/effect balance with the send.

Hz. The buttons below the

kHz down to 1.2 kHz. The

%) as you can

The included effect plug-ins

Distortion plug-ins

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

AmpSimulator

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

The following parameters are available:

Parameter Description

Amplifier pop-up menu

Drive Controls the amount of amp overdrive. Bass Tone control for the low frequencies. Middle Tone control for the mid frequencies. Treble Tone control for the high frequencies. Presence Boosts or dampens the higher frequencies. Volume Controls the overall output level. Cabinet

pop-up menu

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

This pop-up menu is opened by clicking on the amplifier name shown at the top of the amp section. It allows you to select an amplifier model. The amp section can be by passed by selecting “No Amp”.

This pop-up menu is opened by clicking on the cabinet name shown at the top of the cabinet section. It allows you to select a speaker cabinet model. This section can be bypassed by selecting “No Speaker”.

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

BitCrusher

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

The following parameters are available:

Parameter Description

Mode Allows you to select one of the four operating modes of

Sample Divider Sets the amount by which the audio samples are deci-

Depth Defines the bit resolution. A setting of 24 gives the high-

Output slider Governs the output level from BitCrusher. Drag the slider

Mix slider Regulates the balance between the output from Bit-

BitCrusher. In each mode the plug-in sounds differently. Modes I and III are nastier and noisier, while modes II and IV are more subtle.

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

est audio quality, while a setting of 1 creates mostly noise.

upwards to increase the level.

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

The included effect plug-ins

DaTube

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

The following parameters are available:

Parameter Description

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

Balance Controls the balance between the signal processed by

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

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

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

Parameter Description

Spatial Changes the distortion characteristics of the left and right

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

channel, thus creating a stereo effect.

Grungelizer

Distortion

Distortion will add crunch to your tracks. The following parameters are available:

Parameter Description

Boost Increases the distortion amount. Feedback Feeds part of the output signal back to the effect input,

increasing the distortion effect.

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

distortion effect.

The included effect plug-ins

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

Parameter Description

Crackle Adds crackle to create that old vinyl record sound. The

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

Noise Regulates the amount of static noise added. Distort Adds distortion. EQ Turn this knob to the right to cut off the low frequencies,

AC Emulates a constant, low hum of AC current. Frequency

switch Timeline Regulates the amount of overall effect. The farther to the

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

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

and create a more hollow, lo-fi sound.

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

right (1900) you turn the knob, the more noticeable the effect.

SoftClipper (Cubase only)

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

The following parameters are available:

Parameter Description

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

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

Output Adjusts the post-gain, or output level. Second Allows you to adjust the amount of the second harmonic

Third Allows you to adjust the amount of the third harmonic in

overdriven sound just on the verge of distortion.

to the original signal.

in the processed signal.

the processed signal.

VST Amp Rack

The 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. The plug-in processes the mono sum of the channel and outputs a mono or stereo signal, depending on the track configuration.

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: PreEffects, Amplifiers, Cabinets, Post-Effects, Microphone Position, and Master.

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 the 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. The following effects and parameters are available:

Effect Option Description

Wah Wah Pedal Controls the filter frequency sweep. Volume Pedal Controls the level of the signal passing

The included effect plug-ins

through the effect.

Effect Option Description

Compressor Intensity Changes the intensity of the compressor ef-

Chorus Rate Allows you to set the sweep rate.

Width Determines the depth of the chorus effect.

Phaser Rate Allows you to set the sweep rate.

Width Determines the width of the modulation effect

Flanger Rate Allows you to set the sweep rate.

Feedback Determines the character of the flanger effect.

Mix Sets the level balance between the dry and

Tremolo Rate Allows you to set the modulation speed.

Depth Governs the depth of the amplitude modula-

Octaver Direct Adjusts the mix of the original signal and the

Octave 1 Adjusts the level of the signal that is gener-

Octave 2 Adjusts the level of the signal that is gener-

Delay Delay Sets the delay time in milliseconds.

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

Tape Delay Delay Tape Delay creates a delay effect known from

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

fect.

This parameter can be synchronized to the project tempo, see

Higher settings produce a more pronounced effect.

This parameter can be synchronized to the project tempo, see

between higher and lower frequencies.

This parameter can be synchronized to the project tempo, see

Higher settings produce a more “metallic” sounding sweep.

the wet signal.

This parameter can be synchronized to the project tempo, see

tion.

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.

ated one octave below the original pitch. A setting of 0 means that the voice is muted.

ated two octaves below the original pitch. A setting of 0 means that the voice is muted.

This parameter can be synchronized to the project tempo, see

the wet signal.

tape machines. The Delay parameter sets the delay time in milliseconds. This parameter can be synchronized to the project tempo, see

the wet signal.

“Sync mode” on page 13.

Effect Option Description

Tape Ducking Delay

Overdrive Drive Overdrive creates a tube-like overdrive effect.

Fuzz Boost Fuzz creates a rather harsh distortion effect.

Gate Threshold Determines the level where Gate is activated.

Equalizer Low Changes the level of the low-frequency por-

Reverb Type A convolution-based reverb effect. The Type

Delay Tape Ducking Delay creates a delay effect

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

Tone Works as a filter effect on the added harmon-

Level Adjusts the output level.

Tone Works as a filter effect on the added harmon-

Level Adjusts the output level.

Release Sets the amount of time it takes for the gate to

Middle Changes the level of the mid-frequency por-

High Changes the level of the high-frequency por-

Mix Sets the level balance between the dry and

known from tape machines with a ducking pa rameter. The Delay parameter sets the delay time in milliseconds. This parameter can be synchronized to the project tempo, see

level of the input signal is high, the portion of the effect signal is lowered, i. 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 guitar signal stays rather dry during loud or intensely played passages.

The higher the Drive value, the more harmon ics are being added to the output signal of this effect.

ics.

The higher the Boost value, the more distor tion is being created.

ics.

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

close.

tion of the incoming signal (from -12 dB to 12

dB).

tion of the incoming signal (from -12 dB to

dB).

tion of the incoming signal (from -12 dB to

dB).

parameter allows you to switch between dif ferent reverb types (Studio, Hall, Plate, and Room).

the wet signal.

“Sync mode” on page 13.

e. ducked (low

The included effect plug-ins

Sync mode

For some controls, the sync mode can be activated to synchronize the corresponding parameter with the tempo of the host application. These plug-in parameters are then used to specify the base note value for tempo syncing (1/1 to 1/32, straight, triplet, or dotted).

The names of these parameters are underlined. Click on a control knob to activate/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 plus button that appears when hovering with the mouse over an empty plug-in slot or over one of the arrows before or after a used effect slot.

• To remove an effect from an effect slot, click on 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 on the pedallike button below the effect’s name.

When an effect is active, the LED next to the button is lit.

Pre-effects are always mono, while post-effects can be mono or stereo, depending on the track configuration.

Ö Using the Quick Controls in Cubase, you can conveniently set up an external MIDI device such as a foot controller to control the VST Amp Rack effects. For more information, see the chapter “Track Quick Controls” in the Operation Manual.

Amplifiers

The amps available on the Amplifiers page were 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, Tre ble, and Presence) have a significant impact on the overall character and sound of the corresponding amp.

The following amp models are available:

• Plexi – Classic British rock tone; extremely transparent sound,

very responsive.

• Plexi Lead – British rock tone of the 70’s and 80’s.

• Diamond – The cutting edge hard rock and metal sounds of

the 90’s.

• 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 harmoni-

cally distorted rhythm sounds of the 60’s.

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

Using amplifiers

• To switch amps on the Amplifiers page, simply click on 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. However, you can combine amps and cabinets at will.

Using cabinets

• To switch cabinets on the Cabinets page, simply click on 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.

Microphone Position

On the Microphone Position page, you can choose be-

tween 7 positions to place the microphone. 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.

The included effect plug-ins

You can choose between two microphone types: a largediaphragm condenser microphone and a dynamic microphone. Crossfading between the characteristics of the two microphones is also possible.

Placing the microphone

• To select a microphone position, simply click on the corresponding ball in the graphic.

The selected position is marked in red.

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

View settings

Two differents views for the VST Amp Rack plug-in panel are available: the default view and a compact view, which takes up less screen space.

In the default view, you can use the top buttons to open the corresponding page in the Display section above the amp controls. In the compact view the page display is hid den from view. You can still change the amp settings and switch amps or cabinets using the mouse wheel.

• In the default view, you can horizontally resize the plugin panel by clicking and dragging the edges or corners.

Master

Use the Master page to fine-tune the sound. There is an additional three-band Equalizer, a Tuner, and a Master level control for the output of the plug-in.

Using the Master controls

• To activate/deactivate the Equalizer, click the pedal-like On/Off button.

When the Equalizer is active, the LED next to the button is lit.

• To activate/deactivate an equalizer band, click the corresponding Gain knob.

When 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.

When the correct pitch is displayed and the row of LEDs below the digital is green, the string is tuned correctly. The more red LEDs on the left/ right are lit, the lower/higher the pitch.

• To mute the output signal of the plug-in, click the pedallike Master button.

When the LED is off, the output is muted. Use this to tune your guitar in silence, for example.

• To change the volume of the output signal, use the Level control in the Master section.

Using the hover controls

Hover controls are buttons that become visible on the plug-in frame if the mouse pointer is positioned somewhere on the plug-in panel.

Switching between default and compact view

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

Changing the amplifier and cabinet selection in the compact view

In the compact view, a hover 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.

The included effect plug-ins

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 (respectively) of the plug-in frame.

Dynamics plug-ins

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

Compressor

Compressor reduces the dynamic range of the audio, making softer sounds louder or louder sounds softer, or both. Compressor features separate controls for threshold, ratio, attack, hold, release and make-up gain parameters. Com pressor features a separate display that graphically illustrates the compressor curve shaped according to the Threshold and Ratio parameter settings. Compressor also features a Gain Reduction meter that shows the amount of gain reduction in dB, Soft knee/Hard knee compression modes and a program-dependent Auto feature for the Re lease parameter.

The following parameters are available:

Parameter Description

Threshold (-60 to 0 dB)

Ratio (1:1 to 8:1)

Soft Knee button

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

Attack (0.1 to

ms)

100

Hold (0 to

ms)

5000

Release (10 to

ms or

1000 Auto mode)

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

Live button When this button is activated, the “look ahead” feature of

Ö The compression can also be controlled from another

Determines the level where Compressor “kicks in”. Signal levels above the set threshold are affected, but signal lev els below are not processed.

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

dB.

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

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

Determines how fast Compressor will respond to signals above the set threshold. If the attack time is long, more of the early part of the signal (attack) passes through unpro cessed.

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

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

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 better for per cussive material, with a lot of transient peaks.

Compressor is disengaged. Look ahead produces more accurate processing, but adds a certain amount of latency as a trade-off. When Live mode is activated, there is no la tency, which might be better for “live” processing.

signal source via the side-chain input. When the sidechain signal exceeds the threshold, the compression is triggered. For a description of how to set up side-chain routing, see the chapter “Audio effects” in the Operation Manual.

The included effect plug-ins

DeEsser (Cubase only)

A de-esser is used to reduce excessive sibilance, primarily for vocal recordings. Basically, it is a special type of compressor that is tuned to be sensitive to the frequencies produced by the “s” sound, hence the name de-esser. Close proximity microphone placement and equalizing can lead to situations where the overall sound is just right, but there is a problem with sibilants.

The following parameters are available:

Parameter Description

Reduction Controls the intensity of the de-essing effect. Threshold When the Auto Threshold option is deactivated, you can

Auto The Auto Threshold function automatically and continu-

Release Sets the amount of time it takes for the de-essing effect

Level meters Indicate the dB values of the input (IN) and output (OUT)

use this control to set a threshold for the incoming signal level, above which the plug-in starts to reduce the sibilants.

ally chooses an optimum threshold setting independent of the input signal. The Auto Threshold function does not work for low-level signals (< -30 such a file, set the threshold manually.

to return to zero when the signal drops below the thresh old value.

signals as well as the value by which the level of the sibi lant (or s-frequency) is reduced (GR). The gain reduction meter shows values between 0

dB (the s-frequency level is lowered by 20 dB).

-20

db peak level). To reduce the sibilants in

dB (no reduction) and

Positioning the DeEsser in the signal chain

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

EnvelopeShaper

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

The following parameters are available:

Parameter Description

Attack (-20 to 20 dB) Changes the gain of the Attack phase of the

Length (5 to 200 ms) Determines the length of the Attack phase.

Release (-20 to 20 dB) Changes the gain of the Release phase of the

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

signal.

The included effect plug-ins

Expander (Cubase only)

Expander reduces the output level in relation to the input level for signals below the set threshold. This is useful when you want to enhance the dynamic range or reduce the noise in quiet passages. You can either use the knobs or drag the breakpoints in the graphical display to change the Threshold and the Ratio parameter values.

The following parameters are available:

Parameter Description

Threshold (-60 to 0 dB)

Ratio (1:1 to 8:1)

Soft Knee button

Attack (0.1 to

ms)

100

Hold (0 to

ms)

2000 Release

(10 to 1000

ms or

Auto mode)

Determines the level where expansion “kicks in”. Signal levels below the set threshold are affected, but signal lev els above are not processed.

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

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

Determines how fast Expander responds to signals below the set threshold. If the attack time is long, more of the early part of the signal (attack) passes through unpro cessed.

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

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

Parameter Description

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

Live button When this button is activated, the “look ahead” feature of

Expander is disengaged. Look ahead produces more ac curate processing, but adds a certain amount of latency as a trade-off. When Live mode is activated, there is no la tency, which might be better for “live” processing.

Ö The expansion can also be controlled from another signal source via the side-chain input. When the side-chain signal exceeds the threshold, the expansion is triggered. For a description of how to set up side-chain routing, see the chapter “Audio effects” in the Operation Manual.

Gate

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

The following parameters are available:

Parameter Description

Threshold (-60 to 0 dB)

State LED Indicates whether the gate is open (LED lights up in

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

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

The included effect plug-ins

Parameter Description

Filter buttons (LP, BP, and HP)

Side-Chain button

Center (50 Hz to 20000

Q-Factor (0.01 to 10000)

Monitor button Allows you to monitor the filtered signal. Attack (0.1 to

ms)

1000

Hold (0 to 2000 ms)

Release (10 to 1000 ms or Auto mode)

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

Live button When this button is activated, the “look ahead” feature of

When the Side-Chain button (see below) is activated, you can use these buttons to set the filter type to either low-pass, band-pass, or high-pass.

This button (below the Center knob) activates the sidechain filter. The input signal can then be shaped accord ing to set filter parameters. Internal side-chaining can be useful for tailoring how the Gate operates.

When the Side-Chain button is activated, this sets the

Hz)

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

resonance of the filter.

Sets the time it takes for the gate to open after being triggered. If the Live button (see below) is deactivated, it ensures that the gate will already be open when a signal above the threshold level is played back. Gate manages this by “looking ahead” in the audio material, checking for signals loud enough to pass the gate.

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

Sets the amount of time it takes for the gate to close (after the set hold time). If the Auto button is activated, Gate will find an optimal release setting, depending on the au dio material.

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 oper ates 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 mate rial with few transients such as vocals, and Peak mode better for percussive material, with a lot of transient peaks.

Gate is disengaged. Look ahead produces more accurate processing, but adds a certain amount of latency as a trade-off. When Live mode is activated, there is no la tency, which might be better for “live” processing.

Limiter

Limiter is designed to ensure that the output level never exceeds a set output level, to avoid clipping in following devices. Limiter can adjust and optimize the Release pa rameter automatically according to the audio material, or it can be set manually. Limiter also features separate meters

for the input, output and the amount of limiting (middle meters).

The following parameters are available:

Parameter Description

Input (-24 to +24 dB)

Output (-24 to +6 dB)

Release (0.1 to 1000 ms or Auto mode)

Allows you to adjust the input gain.

Determines the maximum output level.

Sets the amount of time it takes for the gain to return to its original level. If the Auto button is activated, Limiter will automatically find an optimal release setting that var ies depending on the audio material.

Ö The gate can also be controlled from another signal source via the side-chain input. When the side-chain signal exceeds the threshold, the gate opens. For a description of how to set up side-chain routing, see the chapter “Audio effects” in the Operation Manual.

The included effect plug-ins

Maximizer

Maximizer is used to raise the loudness of audio material without the risk of clipping. Optionally, there is a soft clip function that removes short peaks in the input signal and introduces a warm tube-like distortion to the signal.

The following parameters are available:

Parameter Description

Output (-24 to +6 dB)

Optimize (0 to 100)

Soft Clip button

Determines the maximum output level. Should normally be set to 0 (to avoid clipping).

Determines the loudness of the signal.

When this button is activated, Maximizer starts limiting (or clipping) the signal “softly”, at the same time generating harmonics which add a warm, tube-like characteristic to the audio material.

MIDI Gate

Gating, in its fundamental form, silences audio signals below a set threshold level. When a signal rises above the set level, the gate opens to let the signal through while signals below the set level are cut off. MIDI Gate, how ever, is not triggered by threshold levels, but MIDI notes. Hence it needs both audio and MIDI data to function.

Setting up

To set up MIDI Gate, proceed as follows:

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

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

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

The MIDI Gate control panel opens.

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

This can be an empty MIDI track or a MIDI track containing data, it does not matter. However, if you wish to use MIDI Gate in realtime – as op posed to using a recorded part – the track has to be selected for the effect to receive the MIDI output.

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

The MIDI output from the track is now routed to the MIDI Gate effect.

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

The included effect plug-ins

5. Make sure the MIDI track is selected, and start playback.

6. Play a few notes on your MIDI keyboard.

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

The following MIDI Gate parameters are available:

Parameter Description

Attack Determines how long it takes for the gate to open after

Hold Regulates how long the gate remains open after a note-

Release Determines how long it takes for the gate to close (in ad-

Note To Attack Determines to which extent the velocity values of the MIDI

Note To Release

Velocity To VCA

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

receiving a signal that triggers it.

on or note-off message (see Hold Mode below).

dition to the value set with the Hold parameter).

notes affect the attack. The higher the value, the more the attack time increases with high note velocities. Negative values give shorter attack times with high velocities. If you do not wish to use this parameter, set it to the 0 position.

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

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.

the gate only remains open for the time set with the Hold and Release parameters, regardless of the length of the MIDI note that triggered the gate. In Note-Off mode, the gate remains open for as long as the MIDI note plays, and then the Hold and Release parameters are applied.

MultibandCompressor (Cubase

The MultibandCompressor allows a signal to be split into a maximum of four frequency bands, each with its own freely adjustable compressor characteristic. The signal is processed on the basis of the settings that you have made in the Frequency Band and Compressor sections. You can specify the level, bandwidth and compressor charac teristics for each band by using the various controls.

The Frequency Band editor

The Frequency Band editor in the upper half of the panel is where you set the width of the frequency bands as well as their level after compression. Two value scales and a num ber of handles are available. The vertical value scale to the left shows the input gain level of each frequency band. The horizontal scale shows the available frequency range.

The handles provided in the Frequency Band editor can be dragged with the mouse. You use them to set the cor ner frequency range and the input gain levels for each frequency bands.

• The handles at the sides are used to define the frequency

range of the different frequency bands.

• By using the handles on top of each frequency band, you can

cut or boost the input gain by +/- 15 dB after compression.

only)

The included effect plug-ins

Bypassing frequency bands

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

Soloing frequency bands

A frequency band can be soloed using the S button in each compressor section. Only one band can be soloed at a time.

Using the Compressor section

By moving breakpoints or using the corresponding knobs, you can specify the Threshold and Ratio. The first break

point from which the line deviates from the straight diagonal will be the threshold point.

For each of the four bands the following compressor parameters are available:

Parameter Description

Threshold (-60 to 0 dB)

Ratio (1000 to 8000) (1:1 to 8:1)

Attack (0.1 to 100 ms)

Release (10 to 1000 ms or Auto mode)

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

Determines the amount of gain reduction applied to signals over the set threshold. A ratio of 3000 (3:1) means that for every 3 level increases by only 1

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) will pass through unprocessed.

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

dB the input level increases, the output

dB.

The Output control

The Output knob controls the total output level that the MultibandCompressor passes on to Cubase. The range is from -24 to +24

dB.

VintageCompressor (Cubase only)

This is modelled after vintage type compressors. 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 pa rameter.

The available parameters work as follows:

Parameter Description

Input (-24 to 48 dB)

Output

(-48 to 24 dB) Attack

(0.1 to 100 ms)

Punch (On/Off)

Release (10 to 1000 ms or Auto mode)

In combination with the Output setting, this parameter determines the compression amount. The higher the in put gain setting and the lower the output gain setting, the more compression is applied.

Sets the output gain.

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

When this is activated, the early attack phase of the signal is preserved, retaining the original “punch” in the audio material, even with short Attack settings.

Sets the amount of time it takes for the gain to return to its original level. If the Auto button is activated, Vintage Compressor will automatically find an optimal release set ting that varies depending on the audio material.

Ö The compression can also be controlled from another signal source via the side-chain input. When the sidechain signal exceeds the threshold, the compression is triggered. For a description of how to set up side-chain routing, see the chapter “Audio effects” in the Operation Manual.

The included effect plug-ins

VSTDynamics

Limiter

Module Configuration

Gate

Compressor

VSTDynamics is an advanced dynamics processor. It combines three separate processors: Gate, Compressor and Limiter, covering a variety of dynamic processing functions. The window is divided into three sections, con taining controls and meters for each processor.

Activating the individual processors

You activate the individual processors using the buttons at the bottom of the plug-in panel.

The Gate section

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

The following parameters are available:

Parameter Description

Threshold (-60 to 0 dB)

State LED Indicates whether the gate is open (LED lights up in

Side-Chain button

LP (low-pass), BP (band-pass), HP (high-pass)

Center (50 to 22000

Hz)

Q-Factor (0.001 to 10000)

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

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

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

These buttons set the basic filter mode.

Sets the center frequency of the filter.

Sets the resonance or width of the filter.

Parameter Description

Monitor (On/Off)

Attack (0.1 to 100 ms)

Hold (0 to 2000 ms)

Release (10 to 1000 ms or Auto mode)

Input gain meter Shows the input gain.

Allows you to monitor the filtered signal.

Sets the time it takes for the gate to open after being triggered.

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

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

The Compressor section

The compressor reduces the dynamic range of the audio,

making softer sounds louder or louder sounds softer, or both. It works like a standard compressor with separate controls for threshold, ratio, attack, release and make-up gain. The compressor features a separate display that graphically illustrates the compressor curve shaped ac cording to the Threshold, Ratio and Make-Up Gain parameter settings. It also features meters for input gain and gain reduction and a program-dependent Auto feature for the Release parameter.

The available parameters work as follows:

Parameter Description

Threshold (-60 to 0 dB)

Ratio (1:1 to 8:1)

Make-Up (0 to 24 dB)

Attack (0.1 to 100 ms)

Release (10 to 1000 ms or Auto mode)

Graphical display

Determines the level where the compressor “kicks in”. Signal levels above the set threshold are affected, but signal levels below are not processed.

Determines 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 in-

creases by only 1 dB. This parameter is used to compensate for output gain

loss, caused by compression. When the Auto button is activated, gain loss is being compensated automatically.

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 un processed.

Use the graphical display to graphically set the Threshold and Ratio values. To the left and right of the graphical dis play you will find two meters that show the amount of input gain and gain reduction in dB.

The included effect plug-ins

The Limiter section

The limiter is designed to ensure 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. You can also adjust the Release parameter manually.

The following parameters are available:

Parameter Description

Output (-24 to +6 dB)

Soft Clip button

Release (10 to 1000 ms or Auto mode)

Meters The three meters show the input gain (IN), the gain re-

Determines the maximum output level. Signal levels above the set threshold are affected, but signal levels be low are left unaffected.

If this button is activated, the limiter acts differently. When the signal level exceeds -6 iting (or clipping) the signal “softly”, at the same time generating harmonics which add a warm, tube-like char acteristic to the audio material.

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

duction (GR) and the output gain (OUT).

dB, Soft Clip starts lim-

The Module Configuration button

Using the Module Configuration button in the bottom right corner of the plug-in panel, you can set the signal flow or der 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)

EQ plug-ins

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

GEQ-10/GEQ-30 (Cubase only)

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

dB, allowing for fine control of the frequency re-

to 12 sponse. In addition there are several preset modes available which can add “color” to the sound of the GEQ-10/ GEQ-30.

• You can draw response curves in the main display by

click-dragging with the mouse.

Note that you have to click on one of the sliders first before dragging across the display. You can also point and click to change individual fre quency bands, or enter values numerically by clicking on a gain value at the top of 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 cut/boost is shown in dB.

The included effect plug-ins

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

Parameter Description

Output Controls the overall gain of the equalizer. Flatten button Resets all the frequency bands to 0 dB. Range Allows you to relatively adjust how much a set curve cuts

Invert button Inverts the current response curve. Mode pop-up

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

The filter mode set here determines how the various frequency band controls interact to create the response curve, see below.

dB.

About the filter modes

On the pop-up menu in the lower right corner there are several different EQ modes available. These modes can add color or character to the equalized output in various ways. The following filter modes are available:

Filter mode Description

True Resp Applies serial filters with an accurate frequency re-

Digi Stand In this mode the resonance of the last band depends on

Classic Applies a classic parallel filter structure where the re-

Variable Q Applies parallel filters where the resonance depends on

ConstQ u Applies parallel filters where the resonance of the first

ConstQ s Applies parallel filters where the resonance is raised

Resonant Applies serial filters where a gain increase of one band

sponse.

the sample rate.

sponse does not follow the set gain values accurately.

the amount of gain.

and last bands depends on the sample rate.

when boosting the gain and vice versa.

will lower the gain in adjacent bands.

StudioEQ

This 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 a Peak (band-pass) or Cut (low-pass/high-pass) filter.

Making settings

1. Click the corresponding On button on the left of the plug-in panel to activate any or all of the 4 equalizer bands (Low, Mid 1, Mid 2, and High).

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

2. Set the parameters for an activated EQ band. This can be done in several ways:

• By using the knobs.

• By clicking on the numeric values and typing in new values.

• By using the mouse to drag points in the EQ curve display. When using the mouse to change the parameter settings,

the following modifier keys can be used:

Modifier key Description

– When no modifier key is pressed and you drag an EQ

[Shift] Keep the [Shift] key pressed and drag the mouse to

[Alt]/[Option] Keep the [Alt]/[Option] key pressed and drag the

[Ctrl]/[Command] Keep the [Ctrl]/[Command] key pressed and drag the

point in the display, the Gain and Frequency parame ters are adjusted simultaneously.

change the Q-factor of the corresponding EQ band.

mouse to change the frequency of the corresponding EQ band.

mouse to change the gain value of the corresponding EQ band.

The included effect plug-ins

The following parameters are available:

Parameter Description

Band 1 Gain (-20 to +24 dB)

Band 1 Inv button Inverts the gain value of the filter. Use this button to fil-

Band 1 Freq (20 to 2000 Hz)

Band 1 Q-Factor (0.5 to 10)

Band 1 Filter mode

Band 2 Gain (-20 to +24 dB)

Band 2 Inv button Inverts the gain value of the filter (see the description

Band 2 Freq (20 to 20000 Hz)

Band 2 Q-Factor (0.5 to 10)

Band 3 Gain (-20 to +24 dB)

Band 3 Inv button Inverts the gain value of the filter (see the description

Band 3 Freq (20 to 20000 Hz)

Band 3 Q-Factor (0.5 to 10)

Band 4 Inv button Inverts the gain value of the filter (see the description

Band 4 Gain (-20 to +24 dB)

Band 4 Freq (200 to 20000 Hz)

Band 4 Q-Factor (0.5 to 10)

Sets the amount of cut/boost for the low band.

ter out unwanted noise. While 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 it, you can use the Inv button to cancel it out.

Sets the frequency of the low band.

Controls the width or resonance of the low band.

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

-Shelf I adds resonance in the opposite gain direction slightly above the set frequency.

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

-Shelf III is a combination of Shelf I and II. Sets the amount of cut/boost for the mid 1 band.

of the Invert button for Band 1). Sets the center frequency of the mid 1 band.

Sets the width of the mid 1 band: the higher this value, the “narrower” the bandwidth.

Sets the amount of cut/boost for the mid 2 band.

of the Invert button for Band 1). Sets the center frequency of the mid 2 band.

Sets the width of the mid 2 band: the higher this value, the “narrower” the bandwidth.

of the Invert button for Band 1). Sets the amount of cut/boost for the high band.

Sets the frequency of the high band.

Controls the width or resonance of the high band.

Parameter Description

Band 4 Filter mode

Output (-24 to +24 dB)

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

For the high band, you can select between three types of shelving filters, a Peak, and a Cut filter. When Cut mode is selected, the Gain parameter is fixed.

-Shelf I adds resonance in the opposite gain direction slightly below the set frequency.

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

-Shelf III is a combination of Shelf I and II. This knob on the top right of the plug-in panel allows

you to adjust the overall output level.

adjusted, keeping the output level constant regardless of the EQ settings.

Filter plug-ins

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

DualFilter

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

The following parameters are available:

Parameter Description

Position Sets the filter cutoff frequency. If you set this to a nega-

Resonance Sets the sound characteristic of the filter. With higher val-

tive value, DualFilter will act as a low-pass filter. Positive values cause DualFilter to act as a high-pass filter.

ues, a ringing sound is heard.

The included effect plug-ins

StepFilter

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

General operation

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

Setting step values

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

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

• 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.

Selecting new patterns

• Created patterns are saved with the project, and up to 8 different cutoff and resonance patterns can be saved internally.

Both the cutoff and resonance settings are saved together in the 8 pattern slots.

• Use the Pattern Selector below the Resonance grid to select a new pattern.

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

Using pattern copy and paste to create variations

You can use the Copy and Paste buttons below the Pattern Selector to copy a pattern to another pattern slot, which is useful for creating variations on a pattern.

• Select the pattern you wish to copy, click the Copy button, select another pattern slot, and click Paste.

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

StepFilter parameters

The following parameters are available:

Parameter Description

Base Cutoff Sets the base filter cutoff frequency. Values set in the

Base Resonance Sets the base filter resonance. Values set in the Reso-

Glide This will apply glide between the pattern step values,

Filter mode Use this slider to select a filter mode: low-pass (LP),

Sync button When the Sync button to the right of the Sync pop-up

Sync pop-up menu (1/1 to 1/32, straight, triplet, or dotted)

Output slider Sets the overall volume. Mix slider Adjusts the mix between dry and processed signal.

Cutoff grid are relative to the Base Cutoff value.

nance grid are relative to the Base Resonance value. Note that very high Base Resonance settings can pro duce loud ringing effects at certain frequencies.

causing values to change more smoothly.

band-pass (BP), or high-pass (HP) (from left to right).

menu is activated (yellow), the pattern playback is syn chronized with the project tempo.

Use this pop-up menu to set the pattern beat resolution, i. e. what note values the pattern will play in relation to the tempo.

The included effect plug-ins

ToneBooster

ToneBooster is a filter that allows you to raise the gain in a selected frequency range. It is particularly useful when inserted before AmpSimulator in the plug-in chain (see

“AmpSimulator” on page 9), greatly enhancing the tonal

varieties available. The following parameters are available:

Parameter Description

Tone Sets the center filter frequency. Gain Allows you to adjust the gain of the selected frequency

range by up to 24 Width Sets the resonance of the filter. Mode selector Sets the basic operational mode of the filter; Peak or

Band Mode.

dB.

Tonic (Cubase only)

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

Tonic has the following properties:

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

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

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

• Adjustable drive and resonance up to self-oscillation.

• Envelope follower for dynamic filter control with an

audio signal.

• Audio and MIDI trigger modes.

• Powerful step LFO with smoothing and morphing.

• X/Y matrix pad for additional realtime modulation with

access to all Tonic parameters.

The included effect plug-ins

Filter

In the Filter section at the center of the plug-in panel, the following parameters are available:

Parameter Description

Mode pop-up menu

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

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

Drive Adds a soft, tube-like saturation to the sound. As with an

Mix Sets the balance between dry and effect signal. Channel

selector (Ch.).

Sets the filter type. Available filter types are: 24 dB low-

dB low-pass, 12 dB low-pass, 6 dB low-pass,

pass, 18

dB band-pass, and 12 dB high-pass.

ates is governed by the filter type.

onance puts the filter into self-oscillation.

analog filter, the amount of saturation also depends on

the input signal level.

Allows you to choose between mono or stereo operation.

When set to mono, the output signal of Tonic is mono re

gardless of the input signal.

Env Mod

In the Env Mod section, the following parameters are available:

Parameter Description

Mode pop-up menu

Attack Controls the attack time of the envelope. Higher attack

Release Controls the release time of the envelope. Higher release

Depth Controls the amount of envelope control applied to the

LFO Mod Using this parameter, the envelope level modulates the

Tonic offers three types of envelope modulation:

“Follow” tracks the input signal’s volume envelope for dy-

namic control of the filter cutoff.

“Trigger” uses the input signal to trigger the envelope

and have it run through a single envelope cycle.

“MIDI” uses any MIDI note to trigger the envelope. The

filter cutoff tracks the keys played on the keyboard. In ad

dition, velocities higher than 80 add an accent to the en-

velope by increasing the envelope depth and reducing

the decay time.

For MIDI control, set up a separate MIDI control track and

select “Tonic” from the Output Routing pop-up menu for

the track.

times result in slower rise times when the envelope is trig

gered.

times result in slower envelope tails.

filter cutoff level.

LFO speed. A rather stunning effect.

X/Y Pad

In the X/Y Pad at the bottom left of the plug-in panel, the following parameters are available:

Parameter Description

X Par pop-up menu

Y Par pop-up menu

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

Sets the parameter to be modulated on the x-axis of the XY Pad. All of Tonic’s parameters are available as desti nations.

Sets the parameter to be modulated on the y-axis of the XY Pad.

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

LFO Mod

In the LFO Mod section, the following parameters are available:

Parameter Description

Mode pop-up menu

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

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

Smooth Controls the smoothing of the LFO steps. This works like

Morph Controls the playback value of the LFO step sequencer. It

Steps pop-up menu

Presets pop-up menu

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

Sets the direction of the step LFO modulation. The available modes are: Forward, Reverse, Alternating, and Random.

ter cutoff level.

is always in sync with the project tempo. An example: at a rate of 4.00 steps per beat in a 4/4 time signature, the step sequencer advances in 16th notes. At a rate of 4.00 beats per step in a 4/4 time signature the LFO advances only one step per bar. Note that the current LFO Rate is shown in the field below the Env Mod section.

a glide effect applied to the filter cutoff.

makes the LFO steps drift about randomly. Experiment freely with the Morph parameter. As you return the knob to its zero position, the step pattern returns to its original setting.

Sets the number of steps played in sequence. Deactivated steps are grayed out in the Step Matrix.

Offers a number of step LFO waveform patterns. Choices include: Sine, Sine+, Cosine, Triangle, Sawtooth, Square, Random, and User (which is the pattern saved with the respective program).

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

The included effect plug-ins

WahWah

Mastering – UV22HR

WahWah is a variable slope band-pass filter that can be auto-controlled by a side-chain signal or via MIDI model

ing the well-known analog pedal effect (see below). You can independently specify the frequency, width and the gain for the Lo and Hi Pedal positions. The crossover point between the Lo and Hi Pedal positions lies at 50.

The following parameters are available:

Parameter Description

Pedal Controls the filter frequency sweep. Pedal Control

(MIDI) pop-up menu

Freq Lo/Hi Set the frequency of the filter for the Lo and Hi Pedal po-

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

Gain Lo/Hi Set the gain of the filter for the Lo and Hi Pedal positions. Filter Slope

selector

Allows you to choose the MIDI controller that is used to control the plug-in. Set this to “Automation” if you do not want to use MIDI realtime control.

sitions.

Pedal positions.

Allows you to choose between two filter slope values:

dB or 12 dB.

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

The UV22HR is a dithering plug-in, based on an advanced algorithm developed by Apogee. For an introduction to the concept of dithering, see the chapter “Audio effects” in the Operation Manual.

The following parameters are available:

Option Description

Bit Resolution The UV22HR supports dithering to multiple resolutions:

Hi Try this first, it is the most “all-round” setting. Lo This applies a lower level of dither noise. Auto black When this is activated, the dither noise is gated (muted)

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

during silent passages in the material.

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

MIDI control

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

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

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

The included effect plug-ins

Modulation plug-ins

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

AutoPan

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

The following parameters are available:

Parameter Description

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

Sync button The button below the Rate knob is used to switch tempo

Width Sets the depth of the auto-pan effect. Waveform

Shape selector

Ö 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 chapter “Audio effects” in the Operation Manual.

note value for tempo-syncing the effect (1/1 to 1/32, straight, triplet, or dotted). If tempo sync is off, the auto-pan speed can be set freely with the Rate knob.

sync on or off.

Allows you to select the modulation waveform. A sine and a triangle waveform are available.

Chopper

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

The following parameters are available:

Parameter Description

Waveform buttons

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

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

Sync button The button above the Speed knob is used to switch

Stereo/Mono button

Mix Sets the level balance between the dry and the wet sig-

Set the modulation waveform.

set by clicking in the graphical display.

note value for tempo-syncing the effect (1/1 to 1/32, straight, triplet, or dotted). Note that there is no note value modifier for this effect. If tempo sync is off, the tremolo/auto-pan speed can be set freely with the Speed knob.

tempo sync on (button lights up) or off. Determines whether the Chopper works as an auto-pan-

ner (button set to “Stereo”) or a tremolo effect (button set to “Mono”).

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

The included effect plug-ins

+ 91 hidden pages

Steinberg Cubase Artist - 6.0, Cubase 6.0 Plug-in Reference

Specifications and Main Features

Frequently Asked Questions

User Manual

Table of Contents

The included effect plug-ins

Introduction

Delay plug-ins

ModMachine (Cubase only)

MonoDelay

PingPongDelay

StereoDelay

Distortion plug-ins

AmpSimulator

BitCrusher

DaTube

Grungelizer

Distortion

SoftClipper (Cubase only)

VST Amp Rack

Dynamics plug-ins

Compressor

DeEsser (Cubase only)

EnvelopeShaper

Expander (Cubase only)

Gate

Limiter

Maximizer

MIDI Gate

VintageCompressor (Cubase only)

VSTDynamics

EQ plug-ins

GEQ-10/GEQ-30 (Cubase only)

StudioEQ

Filter plug-ins

DualFilter

StepFilter

ToneBooster

Tonic (Cubase only)

WahWah

Mastering – UV22HR

Modulation plug-ins

AutoPan

Chopper