Steinberg Cubase Essential - 5.0 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.
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Release Date: June 30, 2009
© Steinberg Media Technologies GmbH, 2009.
All rights reserved.
Table of Contents
5 The included effect plug-ins
6 Introduction
6 Delay plug-ins
7 Distortion plug-ins
9 Dynamics plug-ins
12 Filter plug-ins
14 Mastering – UV22HR
15 Modulation plug-ins
20 Other plug-ins
22 Pitch Shift – Pitch Correct
23 Restoration – Grungelizer
23 Reverb – RoomWorks SE
24 Spatial plug-ins
25 The included VST Instruments
26 Introduction
26 Prologue
35 HALionOne
37 MIDI effects
38 Introduction
38 Arpache 5
39 Arpache SX
40 Auto LFO
41 Beat Designer
46 Chorder
48 Compressor
49 Context Gate
50 Density
50 Micro Tuner
51 MIDI Control
51 MIDI Echo
52 MIDI Modifiers
53 MIDI Monitor
53 Note to CC
54 Quantizer
54 Step Designer
56 Track Control
58 Transformer
64 Index
4
Table of Contents
1
The included effect plug-ins
Introduction
Delay plug-ins
This chapter contains descriptions of the included plug-in
effects and their parameters.
In Cubase AI, 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).
This section contains descriptions of the plug-ins in the
“Delay” category.
MonoDelay
This is a mono delay effect that can either be tempo-based
or use freely specified delay time settings.
The parameters are as follows:
Parameter Description
Delay This is where you specify the base note value for the delay
Tempo sync
on/off
Feedback This 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 signal and the ef-
if tempo sync is on (1/1–1/32, straight, triplet or dotted). If
tempo sync is off, it sets the delay time in milliseconds.
The button below the Delay Time knob is used to turn
tempo sync on or off. If set to off, the delay time can be set
freely with the Delay Time knob, without sync to tempo.
and allows you to roll off low frequencies from 10Hz up
to 800Hz. The button below the knob activates/deactivates the filter.
and allows you to roll off high frequencies from 20kHz
down to 1.2kHz. The button below the knob activates/
deactivates the filter.
fect. If MonoDelay is used as a send effect, this should be
set to maximum as you can control the dry/effect balance
with the send.
6
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 parameters are as follows:
Parameter Description
Delay This is where you specify the base note value for the delay
Tempo sync
on/off
Feedback This 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 This parameter sets the stereo width for the left/right re-
Mix Sets the level balance between the dry signal and the
if tempo sync is on (1/1–1/32, straight, triplet or dotted). If
tempo sync is off, it sets the delay time in milliseconds.
The button below the Delay Time knob is used to turn
tempo sync on or off. If set to off, the delay time can be set
freely with the Delay Time knob, without sync to tempo.
off low frequencies up to 800 Hz. The button below the
knob activates/deactivates the filter.
off high frequencies from 20kHz down to 1.2kHz. The
button below the knob activates/deactivates the filter.
peats. Turn clockwise for a more pronounced stereo
“ping-pong” effect.
effect. If PingPongDelay is used as a send effect, this
should be set to maximum as you can control the dry/
effect balance with the send.
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 parameters are as follows:
Parameter Description
Drive Governs 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 Use this to boost or damp the higher frequencies.
7
The included effect plug-ins
Parameter Description
Volume This controls the overall output level.
Amplifier
pop-up menu
Cabinet
pop-up menu
Damping Lo/Hi Further tone controls for shaping the sound of the selected
This allows you to select between various amplifier models. Click on the currently selected amplifier name to
open a pop-up with all the available amplifier models.
This section can be bypassed by selecting “No Amp”.
Various speaker cabinet models. Click on the currently selected cabinet name to open a pop-up with all the available
amplifier models. This section can be bypassed by selecting “No Speaker”.
speaker cabinet. Click on the values, enter a new value
and press the [Enter] key.
DaTube
This effect emulates the characteristic warm, lush sound
of a tube amplifier.
The parameters are as follows:
Parameter Description
Drive Regulates the pre-gain of the “amplifier”. Use high values
Balance This controls the balance between the signal processed
Output Adjusts the post-gain, or output level, of the “amplifier”.
if you want an overdriven sound just on the verge of
distortion.
by the Drive parameter and the dry input signal. For maximum drive effect, set this to its highest value.
Distortion
Distortion will add crunch to your tracks.
The parameters are as follows:
Parameter Description
Boost Increases the distortion amount.
Feedback This parameter 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.
Spatial Changes the distortion characteristics of the left and
right channel, thus creating a stereo effect.
Output Raises or lowers the signal going out of the effect.
8
The included effect plug-ins
Dynamics plug-ins
This section contains descriptions of the plug-ins in the
“Dynamics” category.
Gate
Gating, or noise gating, silences audio signals below a
certain set threshold level. As soon as the signal level exceeds the set threshold, the gate opens to let the signal
through.
The available parameters are as follows:
Parameter Description
Threshold
(-60–0dB)
State LED This indicates whether the gate is open (LED lights up in
Filter buttons When the Side-Chain button (see below) is activated,
Side-Chain
on/off
Center
(50Hz–
20000Hz)
Q-Factor
(0.01–10000)
Monitor
(On/Off)
This setting 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 will close
the gate.
green), closed (LED lights up in red) or something in between (LED lights up in yellow).
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 filter.
The input signal can then be shaped according to set
Center and Q-Factor parameters which may be useful in
tailoring how the Gate operates.
Sets the center frequency of the filter.
Sets the Resonance of the filter.
Allows you to monitor the filtered signal.
Parameter Description
Attack
(0.1–1000ms)
Hold
(0–2000ms)
Release
(10–1000ms
or Auto mode)
Analysis
(0–100) (Pure
Peak to Pure
RMS)
Live mode
(On/Off)
This parameter sets the time it takes for the gate to open
after being triggered. If the Live button (see below) is deactivated, it will ensure 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.
This determines how long the gate stays open after the
signal drops below the threshold level.
This parameter 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.
This parameter 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 percussive material, with a lot of
transient peaks.
When activated, Live mode disengages the “look ahead”
feature of the Gate. Look ahead does produce more accurate processing but will add a certain amount of latency as a trade-off. When Live mode is activated, there
is no latency, which might be better for “live” processing.
Limiter
Limiter is designed to ensure that the output level never
exceeds a certain set output level, to avoid clipping in following devices. 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).
9
The included effect plug-ins
The available parameters are the following:
Parameter Description
Input
(-24–+24dB)
Output
(-24–+6dB)
Release
(0.1–1000ms
or Auto mode)
Allows you to adjust the input gain.
This setting determines the maximum output level.
This parameter 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
varies depending on the audio material.
MIDI Gate
Gating, in its fundamental form, silences audio signals below a certain set threshold level. That means, 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, however, is a Gate effect that is not triggered by
threshold levels, but instead by MIDI notes. Hence it needs
both audio and MIDI data to function.
Setting up
MIDI Gate requires both an audio signal and a MIDI input
to function.
To set it up, proceed as follows:
1. Select the audio to be affected by the 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 the 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.
This can be an empty MIDI track, or a MIDI track containing data, it
doesn’t matter. However, if you wish to play the MIDI Gate in real-time –
as opposed to having a recorded part playing it – 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.
What to do next depends on whether you are using live or
recorded audio and whether you are using real-time or recorded MIDI. We will assume for the purposes of this
manual that you are using recorded audio, and play the
MIDI in real-time.
Make sure the MIDI track is selected and start playback.
5. Now 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 This is used for determining how long it should take for
Hold Regulates how long the Gate remains open after a Note
Release This determines how long it takes for the Gate to close
Note To Attack The value you specify here determines to which extent
Note To
Release
Velocity To
VCA
Hold Mode Use this switch to set the Hold Mode. In Note-On mode,
the Gate to open after receiving a signal that triggers it.
On or Note Off message (see Hold Mode below).
(in addition to the value set with the Hold parameter).
the velocity values of the MIDI notes should affect the Attack. The higher the value, the more the Attack time will
increase with high note velocities. Negative values will
give shorter Attack times with high velocities. If you do
not wish to use this parameter, set it to the 0 position.
The value you specify here determines to which extent the
velocity values of the MIDI notes should affect the Release.
The higher the value, the more the Release time will increase. If you do not wish to use this parameter, set it to
the 0 position.
This controls to which extent the velocity values of the
MIDI notes determine the output volume. A value of 127
means that the volume is controlled entirely by the velocity values, while a value of 0 means that velocities will
have no effect on the volume.
the Gate will only remain 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
on the other hand, the Gate will remain open for as long
as the MIDI note plays, and then apply the Hold and Release parameters.
10
The included effect plug-ins
VSTDynamics
Limiter
Routing selector
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, containing 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 certain set threshold
level. As soon as the signal level exceeds the set threshold,
the gate opens to let the signal through. The Gate trigger
input can also be filtered using an internal side-chain.
The available parameters are as follows:
Parameter Description
Threshold
(-60–0dB)
state This indicates whether the gate is open (LED lights up in
Side-Chain
on/off
LP (Low pass),
BP (Band
pass), HP
(High pass)
Center
(50–22000Hz)
This setting 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 will close
the gate.
green), closed (LED lights up in red) or something in between (LED lights up in yellow).
This button activates the internal side-chain filter. This
lets you filter out parts of the signal that might otherwise
trigger the gate in places you don’t 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.
This sets the center frequency of the filter.
Parameter Description
Q-Factor
(0.001–
10000)
Monitor
(On/Off)
Attack
(0.1–100ms)
Hold
(0–2000ms)
Release
(10–1000ms
or Auto mode)
This sets the resonance or width of the filter.
Allows you to monitor the filtered signal.
This parameter sets the time it takes for the gate to open
after being triggered.
This determines how long the gate stays open after the
signal drops below the threshold level.
This parameter 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
Compressor reduces the dynamic range of the audio,
making softer sounds louder or louder sounds softer, or
both. Compressor functions like a standard compressor
with separate controls for threshold, ratio, attack, release
and make-up gain parameters. Compressor features a
separate display that graphically illustrates the compressor curve shaped according to the Threshold, Ratio and
MakeUp Gain parameter settings. Compressor also features a Gain Reduction meter that shows the amount of
gain reduction in dB, and a program dependent Auto feature for the Release parameter.
The available parameters work as follows:
Parameter Description
Threshold
(-60–0dB)
Ratio
(1:1–8:1)
Make-Up
(0–24dB)
Attack
(0.1–100ms)
Release
(10–1000ms
or Auto
mode)
Graphic
display
This setting determines the level where Compressor “kicks
in”. Signal levels above the set threshold are affected, but
signal levels below are not processed.
Ratio determines the amount of gain reduction applied to
signals over the set threshold. A ratio of 3:1 means that for
every 3dB the input level increases, the output level will increase by only 1dB.
This parameter is used to compensate for output gain loss,
caused by compression. When Auto is on, gain loss will be
compensated automatically.
This 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) 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 Threshold
level. If the Auto button is activated, Compressor will automatically find an optimal release setting that varies depending on the audio material.
Use the graphic display to graphically set the Threshold or
the Ratio value.
11
The included effect plug-ins
The Limiter section
Limiter is designed to ensure that the output level never
exceeds a certain set output level, 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. Limiter adjusts and optimizes these parameters automatically, according to the audio material.
You can also adjust the Release parameter manually.
The available parameters are the following:
Parameter Description
Output
(-24–+6dB)
Soft Clip
(On/Off)
Release
(10–1000ms
or Auto
mode)
This setting determines the maximum output level. Signal
levels above the set threshold are affected, but signal levels below are left unaffected.ì
Soft Clipper acts differently compared to the limiter. When
the signal level exceeds -6dB, SoftClip starts limiting (or
clipping) the signal “softly”, at the same time generating
harmonics which add a warm, tubelike characteristic to the
audio material.
This parameter 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, Limiter
will automatically find an optimal release setting that varies
depending on the audio material.
The Module Configuration button
Filter plug-ins
This section contains descriptions of the plug-ins in the
“Filter” category.
DualFilter
This effect filters out certain frequencies while allowing
others to pass through.
The following parameters are available:
Parameter Description
Position This parameter sets the filter cutoff frequency. If you set
Resonance Sets the sound characteristic of the filter. With higher
this to a negative value, DualFilter will act as a low-pass
filter. Positive values cause DualFilter to act as a highpass filter.
values, a ringing sound is heard.
In the bottom right corner of the plug-in panel you will find
a button with which 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)
The included effect plug-ins
12
StepFilter
StepFilter is a pattern-controlled multimode filter that can
create rhythmic, pulsating filter effects.
• 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
directly.
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 patterns are saved together in the 8 Pattern
memories.
• To select new patterns you use the pattern selector.
New patterns are all set to the same step value by default.
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
will be set to the pointer position.
Setting filter cutoff values in the grid window.
• The horizontal axis shows the pattern steps 1–16 from
left to right, and the vertical axis determines the (relative)
filter cutoff frequency and resonance setting.
The higher up on the vertical axis a step value is entered, the higher the
relative filter cutoff frequency or filter resonance setting.
Pattern Selector
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 memory location, which is useful for creating variations on a pattern.
• Select the pattern you wish to copy, click the Copy button, select another pattern memory location and click Paste.
The pattern is copied to the new location, and can now be edited to create variations using the original pattern as a starting point.
StepFilter parameters
Parameter/
Value
Base Cutoff This sets the base filter cutoff frequency. Cutoff values
Base Resonance This sets the base filter resonance. Resonance values
Glide This will apply glide between the pattern step values,
Filter Mode This slider selects between low pass (LP), band pass
Sync 1/1 to 1/32
(Straight, Triplet
or Dotted)
Description
set in the Cutoff grid window are values relative to the
Base Cutoff value.
set in the Resonance grid window are values relative to
the Base Resonance value. Note that very high Base
Resonance settings can produce loud ringing effects at
certain frequencies.
causing values to change more smoothly.
(BP) or high pass (HP) filter modes (from left to right
respectively).
This sets the pattern beat resolution, i.e. what note values the pattern will play in relation to the tempo.
13
The included effect plug-ins
Parameter/
!
Value
Output Sets the overall volume.
Mix Adjusts the mix between dry and processed signal.
Description
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 7), greatly enhancing the tonal
varieties available.
The following parameters are available:
Parameter Description
Tone This sets the center filter frequency.
Gain Allows you to adjust the gain of the selected frequency
Width This sets the resonance of the filter.
Mode This sets the basic operational mode of the filter; Peak or
range by up to 24dB.
Band pass.
WahWah
WahWah is a variable slope band pass filter that can be
auto-controlled via MIDI modeling 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 is at 50.
The parameters are as follows:
Parameter Description
Pedal This controls the filter frequency sweep.
Freq Lo/Hi Sets the frequency of the filter for the Lo and Hi Pedal
Width Lo/Hi Sets the width (resonance) of the filter for the Lo and Hi
Gain Lo/Hi Sets the gain of the filter for the Lo and Hi Pedal positions.
Filter Slope Specifies the slope of the filter; 6dB or 12dB.
positions.
Pedal positions.
MIDI control
For real-time MIDI control of the Pedal parameter, MIDI
must be directed to the WahWah plug-in.
• Whenever the WahWah has been added as an insert
effect (for an audio track or an FX channel), it will be available on the Output Routing pop-up menu for MIDI tracks.
If WahWah is selected on the Output Routing menu, MIDI will be directed
to the plug-in from the selected track.
Mastering – UV22HR
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 options can be set in the UV 22 HR control
panel:
Option Description
Hi Try this first, it is the most “all-round” setting.
Low This applies a lower level of dither noise.
Auto black When this is activated, the dither noise is gated (muted)
Bit Resolution The UV22HR supports dithering to multiple resolutions:
Dither should always be applied post output bus
fader.
during silent passages in the material.
8, 16, 20 or 24 bits. You select the desired resolution by
clicking the corresponding button.
14
The included effect plug-ins
Modulation plug-ins
This section contains descriptions of the plug-ins in the
“Modulation” category.
AutoPan
Chorus
This is a simple autopan effect. It can use different waveforms to modulate the left-right stereo position (pan), either
using tempo sync or manual modulation speed settings.
The parameters are as follows:
Parameter Description
Rate If tempo sync is on, this is where you specify the base
Tempo sync
on/off
Width Sets the depth of the AutoPan effect.
Shape Sets the modulation waveform. Sine and Triangle wave-
Side-Chain
on/off
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, without sync to tempo.
The button below the Rate knob is used to switch tempo
sync on (the button lights up) or off.
forms are available.
A signal routed to the Side-Chain input of the effect can
control the Width parameter when this is activated. For a
description of how to set up Side-Chain routing, see the
chapter “Audio effects” in the Operation Manual.
This is a single stage chorus effect. It works by doubling
whatever is sent into it with a slightly detuned version.
The parameters are as follows:
Parameter Description
Tempo sync
on/off
Rate If tempo sync is on, this is where you specify the base
Width This determines the depth of the chorus effect. Higher
Spatial This sets the stereo width of the effect. Turn clockwise
Mix Sets the level balance between the dry signal and the ef-
Delay This parameter affects the frequency range of the modu-
Shape This changes the shape of the modulating waveform, al-
Filter Lo/Hi These parameters allow you to roll off low and high fre-
The button below the Rate knob is used to switch tempo
sync on or off. The button is lit when tempo sync is on.
note value for tempo syncing the chorus sweep (1/1 to
1/32, straight, triplet or dotted).
If tempo sync is off, the sweep rate can be set freely with
the Rate knob, without sync to tempo.
settings produce a more pronounced effect.
for a wider stereo effect.
fect. If Chorus is used as a send effect, this should be set
to maximum as you can control the dry/effect balance
with the send.
lation sweep, by adjusting the initial delay time.
tering the character of the chorus sweep. Sine and triangle waveforms are available.
quencies of the effect signal, respectively.
15
The included effect plug-ins
Flanger
Metalizer
Flanger is a classic flanger effect with added stereo
enhancement.
The parameters are as follows:
Parameter Description
Tempo sync
on/off
Rate If tempo sync is on, this is where you specify the base
Range Lo/Hi This sets the frequency boundaries for the flanger sweep.
Feedback This determines the character of the flanger effect. Higher
Spatial This sets the stereo width of the effect. Turn clockwise
Mix Sets the level balance between the dry signal and the ef-
Shape This changes the shape of the modulating waveform, al-
Delay This parameter affects the frequency range of the modu-
Manual If this is activated, the flanger sweep will be static, i.e. no
Filter Lo/Hi These parameters allow you to roll off low and high fre-
The button below the Rate knob is used to switch tempo
sync on or off. The button is lit when tempo sync is on.
note value for tempo syncing the flanger sweep (1/1 to
1/32, straight, triplet or dotted).
If tempo sync is off, the sweep rate can be set freely with
the Rate knob, without sync to tempo.
settings produce a more “metallic” sounding sweep.
for a wider stereo effect.
fect. If the Flanger is used as a send effect, this should be
set to maximum as you can control the dry/effect balance
with the send.
tering the character of the flanger sweep.
lation sweep, by adjusting the initial delay time.
modulation. You can instead change the sweep position
manually by turning this knob.
quencies of the effect signal, respectively.
The Metalizer feeds the audio signal through a variable
frequency filter, with tempo sync or time modulation and
feedback control.
Parameter Description
Feedback The higher the value, the more “metallic” the sound.
Sharpness Governs the character of the filter effect. The higher the
Tone Governs the feedback frequency. The effect of this will
On button Turns filter modulation on and off. When turned off, the
Mono button When this is on, the output of the Metalizer will be in mono.
Speed If tempo sync is on, this is where you specify the base
Tempo sync
on/off
Output Sets the overall volume.
Mix Sets the level balance between the dry signal and the ef-
value, the narrower the affected frequency area, producing sharper sound and a more pronounced effect.
be more noticeable with high Feedback settings.
Metalizer will work as a static filter.
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 modulation speed can be set
freely with the Speed knob, without sync to tempo.
The button above the Speed knob is used to switch tempo
sync on or off. The button is lit when tempo sync is on.
fect. If Metalizer is used as a send effect, this should be
set to maximum as you can control the dry/effect balance
with the send.
16
The included effect plug-ins
Phaser
Phaser produces the well-known “swooshing” phasing
effect with additional stereo enhancement.
The parameters are as follows:
Parameter Description
Tempo sync
on/off
Rate If tempo sync is on, this is where you specify the base note
Width The width of the modulation effect between higher and
Feedback This determines the character of the phaser effect.
Spatial When using multi-channel audio, Spatial creates a 3-di-
Mix Sets the level balance between the dry signal and the ef-
Manual If this is activated, the phaser sweep will be static, i.e. no
Filter Lo/Hi These parameters allow you to roll off low and high fre-
The button below the Rate knob is used to switch tempo
sync on or off. The button is lit when tempo sync is on.
value for tempo syncing the phaser sweep (1/1 to 1/32,
straight, triplet or dotted).
If tempo sync is off, the sweep rate can be set freely with
the Rate knob, without sync to tempo.
lower frequencies.
Higher settings produce a more pronounced effect.
mensional impression by delaying modulation in each
channel.
fect. If the Phaser is used as a send effect, this should be
set to maximum as you can control the dry/effect balance
with the send.
modulation. You can instead change the sweep position
manually by turning this knob.
quencies of the effect signal, respectively.
Ringmodulator
The Ringmodulator can produce complex, bell-like enharmonic sounds. 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.
The Ringmodulator has a built-in oscillator that is multiplied with the input signal to produce the effect.
Parameter Description
Oscillator LFO
Amount
Oscillator Env.
Amount
Oscillator
Wave
Oscillator
Range
Oscillator
Frequency
Oscillator
Roll-Off
LFO Speed Sets the LFO Speed.
LFO Env.
Amount
Controls how much the oscillator frequency is affected
by the LFO.
Controls how much the oscillator frequency is affected
by the envelope (which is triggered by the input signal).
Positive and negative values can be set, with center position representing no modulation. Left of center, a loud input signal will decrease the oscillator pitch, whereas right
of center the oscillator pitch will increase when fed a loud
input.
Selects the oscillator waveform; square, sine, saw or
triangle.
Determines the frequency range of the oscillator in Hz.
Sets the oscillator frequency +/- 2 octaves within the selected range.
Cuts high frequencies in the oscillator waveform, to
soften the overall sound. This is best used when harmonically rich waveforms are selected (e.g. square or saw).
Controls how much the input signal level – via the envelope generator – affects the LFO speed. Positive and negative values can be set, with center position representing
no modulation. Left of center, a loud input signal will slow
down the LFO, whereas right of center a loud input signal
will speed it up.
17
The included effect plug-ins
Parameter Description
LFO Waveform
Invert Stereo This inverts the LFO waveform for the right channel of the
Envelope
Generator
(Attack and
Decay dials)
Lock L<R When this button is enabled, the L and R input signals
Output Sets the overall volume.
Mix Adjusts the mix between dry and processed signal.
Selects the LFO waveform; square, sine, saw or triangle.
oscillator, which produces a wider stereo perspective for
the modulation.
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. It has two
main controls:
Attack sets how fast the envelope output level rises in response to a rising input signal.
Decay controls how fast the envelope output level falls in
response to a falling input signal.
are merged, and produce the same envelope output level
for both oscillator channels. When disabled, each channel has its own envelope, which affects the two channels
of the oscillator independently.
Rotary
The Rotary plug-in simulates the classic effect of a rotary
speaker. A rotary speaker cabinet features variable speed
rotating speakers to produce a swirling chorus effect, commonly used with organs. Rotary features all the parameters
associated with the real thing.
The parameters are as follows:
Parameter Description
Speed (Stop/
Slow/Fast)
Mode Selects whether the Slow/Fast setting is a switch or a
Speed Mod Selects the Rotary speed from 0 (Stop) to 100 (Fast).
Overdrive Applies a soft overdrive or distortion.
CrossOver Sets the crossover frequency (200–3000Hz) between
This controls the speed of the Rotary in three steps.
variable control. When switch mode is selected and
Pitchbend is the controller, the speed will switch with an
up or down flick of the bender. Other controllers switch
at 64.
the low and high frequency loudspeakers.
Parameter Description
Slow Fine adjustment of the high rotor Slow speed.
Fast Fine adjustment of the high rotor Fast speed.
Accel. Fine adjustment of the high rotor acceleration time.
Amp Mod High rotor amplitude modulation.
Freq Mod High rotor frequency modulation.
Slow Fine adjustment of the low rotor Slow speed.
Fast Fine adjustment of the low rotor Fast speed.
Accel. Fine adjustment of the low rotor acceleration time.
Amp Mod Adjusts amplitude modulation depth.
Level Adjusts overall bass level.
Phase Adjusts the phasing amount in the sound of the high rotor.
Angle Sets the simulated microphone angle. 0 = mono, 180 =
Distance Sets the simulated microphone distance from the
Output Adjusts the overall output level.
Mix Adjusts the mix between dry and processed signals.
one mic on each side.
speaker in inches.
Directing MIDI to the Rotary
For real-time MIDI control of the Speed parameter, MIDI
must be directed to the Rotary.
• Whenever the Rotary has been added as an insert effect (for an audio track or an FX channel), it will be available on the Output Routing pop-up menu for MIDI tracks.
If Rotary is selected on the “out:” menu, MIDI will be directed to the plugin from the selected track.
18
The included effect plug-ins
Tranceformer
Tranceformer is a ring modulator effect, in which 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.
Parameter Description
Waveform
buttons
Tone Sets the frequency (pitch) of the modulating oscillator
Depth Governs the depth of the pitch modulation.
Speed If tempo sync is on, this is where you specify the base note
Tempo sync
on/off
On button Turns modulation of the pitch parameter on or off.
Mono button Governs whether the output will be stereo or mono.
Output Adjusts the output level of the effect.
Mix Sets the level balance between the dry signal and the
Ö Note that clicking and dragging in the display allows
you to adjust the Tone and Depth parameters at the same
time!
Sets the pitch modulation waveform.
(1 to 5000Hz).
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 modulation speed
can be set freely with the Speed knob, without sync to
tempo.
The button above the Speed knob is used to switch tempo
sync on or off. The button is lit when tempo sync is on.
effect.
Tremolo
Tremolo produces amplitude (volume) modulation.
Parameters are as follows:
Parameter Description
Rate If tempo sync is on, this is where you specify the base
Tempo sync
on/off
Depth This governs the depth of the amplitude modulation.
Spatial This will add a stereo effect to the modulation.
Output Adjusts the output volume.
note value for tempo-syncing the effect (1/1 to 1/32,
straight, triplet or dotted).
If tempo sync is off, the modulation speed can be set
freely with the Rate knob, without sync to tempo.
The button below the Rate knob is used to switch tempo
sync on or off. The button is lit when tempo sync is on.
Vibrato
The Vibrato plug-in produces pitch modulation.
Parameter Description
Rate If tempo sync is on, this is where you specify the base
Tempo sync
on/off
Depth This governs the depth of the pitch modulation.
Spatial This will add a stereo effect to the modulation.
note value for tempo-syncing the effect (1/1 to 1/32,
straight, triplet or dotted).
If tempo sync is off, the modulation speed can be set
freely with the Rate knob, without sync to tempo.
The button below the Rate knob is used to switch tempo
sync on or off. The button is lit when tempo sync is on.
19
The included effect plug-ins
Other plug-ins
This section contains descriptions of the plug-ins in the
“Others” category.
Bitcrusher
If you’re 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. 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 parameters are:
Parameter Description
Mode Select one of four operating modes for the Bitcrusher.
Sample Divider This sets the amount by which the audio samples are
Depth Use this to set the desired bit resolution. A setting of 24
Output Governs the output level from the Bitcrusher. Drag the
Mix This slider regulates the balance between the output from
Each mode will produce a result sounding a bit different.
Modes I and III are nastier and noisier, while modes II and
IV are more subtle.
decimated. At the highest setting (65), nearly all of the information describing the original audio signal will be eliminated, turning the signal into unrecognizable noise.
gives the highest audio quality, while a setting of 1 will
create mostly noise.
slider upwards to increase the level.
the Bitcrusher and the original audio signal. Drag the slider
upwards for a more dominant effect, and drag it downwards if you want the original signal to be more prominent.
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 parameters are as
follows:
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
Tempo sync
on/off
Stereo/Mono
button
Mix Sets the level balance between the dry signal and the ef-
Sets the modulation waveform.
set by clicking in the graphic 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, without sync to tempo.
The button above the Speed knob is used to switch
tempo sync on (the button lights up) or off.
Determines whether the Chopper will work as an autopanner (button set to “Stereo”) or a tremolo effect (button set to “Mono”).
fect. If Chopper is used as a send effect, this should be
set to maximum.
20
The included effect plug-ins
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