Steinberg Cubase LE - 6.0, Cubase Elements - 6.0, Cubase AI - 6.0 Plug-in Reference

Plug-in Reference

Cristina Bachmann, Heiko Bischoff, Marion Bröer, Sabine Pfeifer, Heike Schilling, Benjamin Schütte

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Release Date: March 31, 2011

5 The included effect plug-ins

6 Introduction 6 Delay plug-ins 7 Distortion plug-ins 9 Dynamics plug-ins 11 Filter plug-ins 13 Mastering plug-ins 14 Modulation plug-ins 20 Pitch Shift plug-ins 21 Reverb plug-ins 22 Spatial + Panner plug-ins 23 Tools plug-ins

24 The included VST instruments

25 Introduction 25 Groove Agent ONE (Cubase Elements only) 30 HALion Sonic SE 30 Prologue (Cubase Elements only)

40 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.

Parameter Description

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

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

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/

kHz

PingPongDelay (Cubase Elements only)

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

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.

Hz up to

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 clock-

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.

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.

wise for a more pronounced stereo “ping-pong” effect.

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

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 highest

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.

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 (not in Cubase LE)

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.

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,

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

Spatial Changes the distortion characteristics of the left and right

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

increasing the distortion effect.

distortion effect.

channel, thus creating a stereo effect.

Grungelizer

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 parame ters 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.

The included effect plug-ins

Dynamics plug-ins

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

Compressor (Cubase Elements only)

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)

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.

Parameter Description

Attack (0.1 to

ms)

100

Hold (0 to 5000

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

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.

Limiter (not in Cubase LE)

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 included effect plug-ins

The following parameters are available:

Limiter

Module Configuration

Gate

Compressor

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.

VSTDynamics

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 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).

Parameter Description

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

Center (50 to

Hz)

22000

Q-Factor (0.001 to 10000)

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.

These buttons set the basic filter mode.

Sets the center frequency of the filter.

Sets the resonance or width of the filter.

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 pa-

rameter 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)

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.

The included effect plug-ins

Parameter Description

Release (10 to 1000 ms or Auto mode)

Graphical display

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.

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 Limiter section

The limiter is designed to ensure that the output level never exceeds a set threshold, to avoid clipping in follow ing 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 thresh old 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 avail

able options allow you to quickly compare what works best for a given situation. Simply click the Module Config-

uration 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)

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 (Cubase Elements only)

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 (not in Cubase LE)

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 Sets the center filter frequency.

Gain Allows you to adjust the gain of the selected frequency

Width Sets the resonance of the filter.

Mode selector

range by up to 24

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

dB.

WahWah (not in Cubase LE)

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

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.

positions.

Pedal positions.

Allows you to choose between two filter slope values:

dB or 12 dB.

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.

Mastering plug-ins

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

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 lies at 50.

The included effect plug-ins

UV22HR (Cubase Elements only)

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.

+ 28 hidden pages

Steinberg Cubase LE - 6.0, Cubase Elements - 6.0, Cubase AI - 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

PingPongDelay (Cubase Elements only)

MonoDelay

Distortion plug-ins

AmpSimulator

BitCrusher

DaTube (not in Cubase LE)

Distortion

Grungelizer

Dynamics plug-ins

Compressor (Cubase Elements only)

Limiter (not in Cubase LE)

VSTDynamics

Filter plug-ins

DualFilter

StepFilter (Cubase Elements only)

ToneBooster (not in Cubase LE)

WahWah (not in Cubase LE)

Mastering plug-ins

UV22HR (Cubase Elements only)