Steinberg Cubase 9.5, Cubase Pro - 9.5 Plug-in Reference

Plug-in Reference

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

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The information in this document is subject to change without notice and does not represent a commitment on the part of Steinberg Media Technologies GmbH. The software described by this document is subject to a License Agreement and may not be copied to other media except as specifically allowed in the License Agreement. No part of this publication may be copied, reproduced, or otherwise transmitted or recorded, for any purpose, without prior written permission by Steinberg Media Technologies GmbH. Registered licensees of the product described herein may print one copy of this document for their personal use.

All product and company names are ™ or ® trademarks of their respective owners. For more information, please visit www.steinberg.net/trademarks.

Steinberg Media Technologies GmbH, 2017.

Cubase_9.5.0_en-US_2017-11-29

4 Included Effect Plug-ins

4 Delay Plug-ins 9 Distortion Plug-ins 32 Dynamics Plug-ins 57 EQ Plug-ins 65 Filter Plug-ins 73 Mastering Plug-ins 73 Modulation Plug-ins 89 Network Plug-ins 89 Other Plug-ins 94 Pitch Shift Plug-ins 97 Reverb Plug-ins 113 Spatial + Panner Plug-ins 125 Surround Plug-ins 136 Tools Plug-ins

144 MIDI Effects

144 Arpache 5 146 Arpache SX 148 Auto LFO 149 Beat Designer 156 Chorder 160 Compressor 160 Context Gate 162 Density 162 MIDI Control 163 MIDI Echo 165 MIDI Modifiers 165 MIDI Monitor 166 Micro Tuner 167 Note to CC 167 Quantizer 168 StepDesigner 172 Track Control 175 Transformer

176 Included VST Instruments

176 Groove Agent SE 176 HALion Sonic SE 176 LoopMash 189 Mystic 201 Padshop 201 Prologue 217 Retrologue 217 Spector 229 Functional Diagrams

231 Index

The included plug-in effects are arranged according to their categories.

NOTE

Most of the included effects are compatible with VST 3. For more information, see the Operation

Manual.

Delay Plug-ins

ModMachine

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

Included Effect Plug-ins

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Included Effect Plug-ins Delay Plug-ins

Delay

Delay – Sync

Rate

Rate – Sync

Width

Feedback

If tempo sync is activated, this sets the base note value for the delay. If tempo sync is deactivated, the delay time can be set freely in milliseconds.

Activates/Deactivates tempo sync for the Delay parameter.

If tempo sync is activated, this is where you specify the base note value for temposyncing the effect (1/1 to 1/32, straight, triplet, or dotted).

If tempo sync is deactivated, the modulation speed can be set freely with the Rate knob.

Activates/Deactivates tempo sync for the Rate parameter.

Sets the amount of delay modulation. This allows you to create a vibrato or choruslike effect.

Sets the number of repeats for the delay.

Drive

Adds distortion to the feedback loop. The longer the feedback, the more the delay repeats are distorted over time.

Mix

Sets the level balance between the dry signal and the wet signal. If the effect is used as a send effect, set this parameter to the maximum value as you can control the dry/effect balance with the send.

Nudge

Clicking this button once momentarily speeds up the audio coming into the plug-in, simulating the nudge command of analog tape machines.

Signal path graphic and Filter position

The filter can either be placed in the feedback loop of the delay or in the output path of the effect (after the Drive and Feedback parameters). To switch between the loop and output positions, click in the Filter section displayed in the graphic or click on the Position field at the bottom right of the graphic.

Filter type (in graphic display)

Allows you to select a filter type. You can choose between a low-pass, band-pass, and high-pass filter.

Filter Frequency LFO Modulation

Freq

Sets the cutoff frequency for the filter. It is only available if tempo sync for the Speed parameter is deactivated and the parameter is set to 0.

Speed

Sets the speed of the filter frequency LFO modulation. If tempo sync is activated, this parameter sets the base note value for synchronizing the modulation to the tempo of the host application.

If tempo sync is deactivated, the speed can be set freely with the Speed knob.

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Speed – Sync

Range Lo/Hi

Spatial

Filter Resonance LFO Modulation

Q-Factor

Speed

Activates/Deactivates tempo sync for the Speed parameter.

Set the range of the filter frequency modulation. Both positive (for example, Lo set to 50 and Hi set to 10000) and negative (for example, Lo set to 5000 and Hi set to 500) ranges can be set. If tempo sync is off and Speed is set to zero, these parameters are inactive and the filter frequency is controlled by the Freq parameter instead.

Introduces an offset between the channels to create a stereo panorama effect for the filter frequency modulation. Turn clockwise for a more pronounced stereo effect.

Sets the resonance of the filter. It is only available if filter resonance LFO tempo sync is deactivated and the Speed parameter is set to 0. If tempo sync is activated, the resonance is controlled by the Speed and Range parameters.

Sets the speed of the filter resonance LFO modulation. If tempo sync is activated, this parameter sets the base note value for tempo syncing the modulation.

If tempo sync is deactivated, the speed can be set freely with the Speed knob.

Speed – Sync

Range Lo/Hi

Spatial

MonoDelay

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

Activates/Deactivates tempo sync for the Speed parameter.

Set the range of the filter resonance modulation. Both positive (for example, Lo set to 50 and Hi set to 100) and negative (for example, Lo set to 100 and Hi set to

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

Introduces an offset between the channels to create a stereo panorama effect for the filter resonance modulation. Turn clockwise for a more pronounced stereo effect.

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Included Effect Plug-ins Delay Plug-ins

Delay

Sync

Feedback

Filter Lo

Filter Hi

If tempo sync is activated, this sets the base note value for the delay. If tempo sync is deactivated, the delay time can be set freely in milliseconds.

Activates/Deactivates tempo sync.

Sets the number of repeats for the delay.

Affects the feedback loop of the effect signal and allows you to roll off low frequencies. The button below the knob activates/deactivates the filter.

Affects the feedback loop of the effect signal and allows you to roll off high frequencies. The button below the knob activates/deactivates the filter.

Mix

NOTE

If side-chaining is supported, the delay can also be controlled from another signal source via the side-chain input. If the side-chain signal exceeds the threshold, the delay repeats are silenced. If the signal drops below the threshold, the delay repeats reappear. For a description of how to set up side-chain routing, see the Operation Manual.

PingPongDelay

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

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Side-chain support

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NOTE

This plug-in works only on stereo tracks.

Included Effect Plug-ins Delay Plug-ins

Delay

Sync

Feedback

Filter Lo

Filter Hi

If tempo sync is activated, this sets the base note value for the delay. If tempo sync is deactivated, the delay time can be set freely in milliseconds.

Activates/Deactivates tempo sync.

Sets the number of repeats for the delay.

Affects the feedback loop of the effect signal and allows you to roll off low frequencies. The button below the knob activates/deactivates the filter.

Affects the feedback loop of the effect signal and allows you to roll off high frequencies. The button below the knob activates/deactivates the filter.

Spatial

Mix

NOTE

StereoDelay

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

Sets the stereo width for the left/right repeats. Turn clockwise for a more pronounced stereo ping-pong effect.

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Side-chain support

NOTE

This plug-in works only on stereo tracks.

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Delay

Sync

Feedback

Filter Lo

Filter Hi

If tempo sync is activated, this sets the base note value for the delay. If tempo sync is deactivated, the delay time can be set freely in milliseconds.

Activates/Deactivates tempo sync for the corresponding delay.

Set the number of repeats for each delay.

Affects the feedback loop of the effect signal and allows you to roll off low frequencies. The button below the knob activates/deactivates the filter.

Affects the feedback loop of the effect signal and allows you to roll off high frequencies. The button below the knob activates/deactivates the filter.

Pan

Set the stereo position for each delay.

Mix

NOTE

Distortion Plug-ins

AmpSimulator

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

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Amplifier pop-up menu

Drive

Click the amplifier name shown at the top of the amp section to open this pop-up menu. It allows you to select an amplifier model. This section can be bypassed by selecting No Amp.

Controls the amount of amp overdrive.

BitCrusher

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

Click the cabinet name shown at the top of the cabinet section to open this pop-up menu. It allows you to select a speaker cabinet model. This section can be bypassed by selecting No Speaker.

Damping Lo/Hi

Further tone controls for shaping the sound of the selected speaker cabinet. Click the values, enter a new value and press Enter.

If you are into lo-fi sound, BitCrusher is the effect for you. It offers the possibility of decimating and truncating the input audio signal by bit reduction, to get a noisy, distorted sound. For

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example, you can make a 24-bit audio signal sound like an 8 or 4-bit signal, or even render it completely garbled and unrecognizable.

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Mode

Allows you to select one of the four operating modes. In each mode, the plug-in sounds differently. Modes I and III are nastier and noisier, while modes II and IV are more subtle.

Sample Divider

Sets the amount by which the audio samples are decimated. At the highest setting, nearly all of the information describing the original audio signal is eliminated, turning the signal into unrecognizable noise.

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DaTube

Depth (0 to 24 bits)

Defines the bit resolution. A setting of 24 gives the highest audio quality, while a setting of 1 creates mostly noise.

Output

Sets the output level.

Mix

Sets the level balance between the dry signal and the wet signal.

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

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Drive

Balance

Output

Distortion

Distortion adds crunch to your tracks.

Sets the pre-gain of the amplifier. Use high values if you want an overdriven sound just on the verge of distortion.

Sets the balance between the signal processed by the Drive parameter and the dry input signal. For maximum drive effect, set this to its highest value.

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

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Boost

Increases the distortion amount.

Feedback

Feeds part of the output signal back to the effect input. Higher settings increase the distortion effect.

Tone

Lets you select a frequency range to which to apply the distortion effect.

Spatial

Changes the distortion characteristics of the left and right channels, thus creating a stereo effect.

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Output

Grungelizer

Grungelizer adds noise and static to your recordings – like listening to a radio with bad reception, or a worn and scratched vinyl record.

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Sets the output level.

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Crackle

RPM

Adds crackle to create that old vinyl record sound.

When emulating the sound of a vinyl record, this switch lets you set the speed of the record in RPM (revolutions per minute).

Magneto II

Noise

Sets the amount of added static noise.

Distort

Adds distortion.

Cuts the low frequencies, and creates a hollow, lo-fi sound.

Emulates a constant, low AC hum.

Frequency

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

Timeline

Sets the amount of overall effect.

This effect simulates the saturation and compression of recording on analog tape machines.

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Saturation

Saturation On/Off

Determines the amount of saturation and the generation of overtones. This leads to a small increase in input gain.

Activates/Deactivates the saturation effect.

Dual Mode

Frequency Range Low/Hi

Solo

HF-Adjust

HF-Adjust On/Off

Quadrafuzz v2

Quadrafuzz v2 is a multi-band distortion and multi-effect plug-in for processing drums and loops but also for treatment of vocals, for example. You can distort up to 4 bands. 5 different distortion modes with several sub-modes are available.

Simulates the use of two machines.

These parameters set the frequency range of the spectrum band to which the tape effect is applied.

For example, to avoid the saturation of lower frequencies, set the Freq Low value to 200 Hz or 300 Hz. To avoid the saturation of very high frequencies, set the Freq Hi parameter to values below 10 kHz.

Allows you to hear only the set frequency range including the tape simulation effect. This helps you to determine the appropriate frequency range.

Sets the amount of high frequency content of the saturated signal.

Activates/Deactivates the HF-Adjust filter.

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Frequency Band Editor

The frequency band editor in the upper half of the panel is where you set the width of the frequency bands as well as the output level. The vertical value scale to the left shows the gain level of each frequency band. The horizontal scale shows the available frequency range.

● To define the frequency range of the different frequency bands, use the handles at the sides of each frequency band.

● To attenuate or boost the output level of each frequency band by ±15 dB, use the handles on top of each frequency band.

Global Settings

Switches between multi band and single band mode.

Scenes

You can save up to 8 different settings. If the default setting of a scene is active, the selected scene button lights up yellow.

If you change the default settings, the button lights up green, indicating that this scene has customized settings.

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Mix

Output (-24 to 24 dB)

Band Settings

Mute

Bypassing Frequency Bands

To copy the settings of a scene to another scene, select the scene that you want to copy, click Copy, and click one of the numbered buttons.

You can automate the selection of scenes.

Sets the level balance between the dry signal and the wet signal.

Sets the output level.

To mute each frequency band, activate the M button in each section.

To bypass each frequency band, activate the Bypass Band button in each section.

Soloing Frequency Bands

To solo a frequency band, activate the S button in each section. Only one band can be soloed at a time.

In/Out meter

Display the input and output level.

Gate

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

Tape

This band mode simulates the saturation and compression of recording on analog tape machines.

Drive

Controls the amount of tape saturation.

Tape Mode Dual

Simulates the use of two machines.

Tube

This band mode simulates the saturation effects using analog tubes.

Drive

Controls the amount of tube saturation.

Tubes

Determine the number of tubes that are simulated.

Dist

This band mode adds distortion to your tracks.

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Drive

FBK

Amp

This band mode simulates the sound of various types of guitar amps.

Drive

Amp Types

Dec

Controls the amount of distortion.

Feeds part of the output signal back to the effect input. Higher settings increase the distortion effect.

Controls the amount of amp overdrive.

You can select the following types of guitar amps:

● Amp Clean

● Amp Crunch

● Amp Lead

This band mode allows you to decimate and truncate the input audio signal to create a noisy, distorted sound.

Decimator

Controls the resulting bit-resolution. The lower the resolution, the higher the distortion effect.

Mode

Allows you to select one of the four operating modes. In each mode, the plug-in sounds differently. Modes I and III are nastier and noisier, while modes II and IV are more subtle.

S&H

Delay

To open the Delay section, click the Delay button.

Time

If tempo sync is activated, this is where you specify the base note value for temposyncing the effect (1/1 to 1/32, straight, triplet, or dotted).

If tempo sync is deactivated, the delay time can be set freely with the Time knob.

Sync

Activates/Deactivates tempo sync for the corresponding delay.

Duck

Determines how much the delay signal ducks when an audio signal is present.

Mix

Sets the level balance between the dry signal and the wet signal.

FBK

Determines the number of repeats for each delay.

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Mode

NOTE

High FBK values and low Duck values in combination with activated Mode can lead to unwanted noise.

Slider

Width

Out

Pan

Mix

If this option is activated, the delay signal is routed back into the distortion unit to create a feedback with distortion.

Sets the stereo width for the corresponding band.

Sets the output gain for the corresponding band.

Sets the stereo position for the corresponding band.

Sets the level balance between the dry signal and the wet signal.

SoftClipper

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

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Input (-12 to 24 dB)

Sets the pre-gain. Use high values if you want an overdriven sound just on the verge of distortion.

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Mix

Sets the level balance between the dry signal and the wet signal.

Output

Sets the output level.

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VST Amp Rack

VST Amp Rack is a powerful guitar amp simulator. It offers a choice of amplifiers and speaker cabinets that can be combined with stomp box effects.

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At the top of the plug-in panel, there are six buttons, arranged according to the position of the corresponding elements in the signal chain. These buttons open different pages in the display section of the plug-in panel: Pre-Effects, Amplifiers, Cabinets, Post-Effects, Microphone Position, Master, and Configuration.

Below the display section, the selected amplifier is shown. The color and texture of the area below the amplifier indicate the selected cabinet.

Pre/Post-Effects

On the Pre-Effects and Post-Effects pages, you can select up to six common guitar effects. On both pages, the same effects are available, the only difference being the position in the signal chain (before and after the amplifier). On each page, every effect can be used once.

Each effect features an On/Off button known from stompbox effects, as well as individual parameters.

Wah Wah

Pedal – Controls the filter frequency sweep.

Volume

Pedal – Controls the level of the signal passing through the effect.

Compressor

Intensity – Sets the amount by which an input signal is being compressed.

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Limiter

Maximizer

Chorus

Phaser

Flanger

Threshold – Determines the maximum output level. Signal levels above the set

threshold are cut off.

Release – Sets the time after which the gain returns to the original level.

Amount – Determines the loudness of the signal.

Rate – Allows you to set the sweep rate. This parameter can be synchronized to the

project tempo.

Width – Determines the depth of the chorus effect. Higher settings produce a more pronounced effect.

Rate – Allows you to set the sweep rate. This parameter can be synchronized to the project tempo.

Width – Determines the width of the modulation effect between higher and lower frequencies.

Rate – Allows you to set the sweep rate. This parameter can be synchronized to the project tempo.

Feedback – Determines the character of the flanger effect. Higher settings produce a more metallic sounding sweep.

Mix – Sets the level balance between the dry signal and the wet signal.

Tremolo

Rate – Allows you to set the modulation speed. This parameter can be synchronized

to the project tempo.

Depth – Governs the depth of the amplitude modulation.

Octaver

Direct – Adjusts the mix of the original signal and the generated voices. A value of 0

means only the generated and transposed signal is heard. By raising this value, more of the original signal is heard.

Octave 1 – Adjusts the level of the signal that is generated one octave below the original pitch. A setting of 0 means that the voice is muted.

Octave 2 – Adjusts the level of the signal that is generated two octaves below the original pitch. A setting of 0 means that the voice is muted.

Delay

Delay – Sets the delay time in milliseconds. This parameter can be synchronized to

the project tempo.

Feedback – Sets the number of repeats for the delay.

Mix – Sets the level balance between the dry signal and the wet signal.

Tape Delay

Delay – Tape Delay creates a delay effect known from tape machines. The Delay

parameter sets the delay time in milliseconds. This parameter can be synchronized to the project tempo.

Feedback – Sets the number of repeats for the delay.

Mix – Sets the level balance between the dry signal and the wet signal.

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Tape Ducking Delay

Overdrive

Fuzz

Delay – Tape Ducking Delay creates a delay effect known from tape machines with

a ducking parameter. The Delay parameter sets the delay time in milliseconds. This parameter can be synchronized to the project tempo.

Feedback – Sets the number of repeats for the delay.

Duck – Works like an automatic mix parameter. If the level of the input signal is high,

the portion of the effect signal is lowered, or ducked (low internal mix value). If the level of the input signal is low, the portion of the effect signal is raised (high internal mix value). This way the delayed signal stays rather dry during loud or intensely played passages.

Drive – Overdrive creates a tube-like overdrive effect. The higher this value, the more harmonics are added to the output signal of this effect.

Tone – Works as a filter effect on the added harmonics.

Level – Adjusts the output level.

Boost – Fuzz creates a rather harsh distortion effect. The higher this value, the more

distortion is created.

Tone – Works as a filter effect on the added harmonics.

Level – Adjusts the output level.

Gate

Threshold – Determines the level at which the gate is activated. Signal levels above

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

Release – Sets the time after which the gate closes.

Equalizer

Low – Changes the level of the low-frequency portion of the incoming signal.

Middle – Changes the level of the mid-frequency portion of the incoming signal.

High – Changes the level of the high-frequency portion of the incoming signal.

Reverb

Type – A convolution-based reverb effect. This parameter allows you to switch between different reverb types (Studio, Hall, Plate, and Room).

Mix – Sets the level balance between the dry signal and the wet signal.

Sync Mode

Some parameters can be synchronized to the tempo of the host application.

The names of these parameters are underlined. Click a knob to activate or deactivate tempo sync. An LED at the top right of the knob indicates that sync mode is active. You can then select a base note value for tempo syncing from the pop-up menu above the control.

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Using Effects

● To insert a new effect, click the + button that appears if you point the mouse at an empty

● To remove an effect from an effect slot, click the effect name and select None from the

● To change the order of the effects in the chain, click on an effect and drag it to another

● To activate or deactivate an effect, click the pedal-like button below the effect name. If an

NOTE

● Pre-effects and post-effects can be mono or stereo, depending on the track configuration.

● Using quick controls you can set up an external MIDI device, such as a foot controller,

Amplifiers

The amps available on the Amplifiers page are modeled on real-life amplifiers. Each amp features settings typical for guitar recording, such as gain, equalizers, and master volume. The sound-related parameters Bass, Middle, Treble, and Presence have a significant impact on the overall character and sound of the corresponding amp.

plug-in slot or at one of the arrows before or after a used effect slot.

pop-up menu.

position.

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

to control the VST Amp Rack effects. For more information about quick controls, see the

Operation Manual.

Plexi

Classic British rock tone; extremely transparent sound, very responsive.

Plexi Lead

British rock tone of the 70s and 80s.

Diamond

The cutting edge hard rock and metal sounds of the 90s.

Blackface

Classic American clean tone.

Tweed

Clean and crunchy tones; originally developed as a bass amp.

Deluxe

American crunch sound coming from a rather small amp with a big tone.

British Custom

Produces the sparkling clean or harmonically distorted rhythm sounds of the 60s.

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

Selecting and Deactivating Amplifiers

To switch amps on the Amplifiers page, click the model that you want to use. Select No Amplifier if you only want to use the cabinets and effects.

Cabinets

The cabinets available on the Cabinets page simulate real-life combo boxes or speakers. For each amp, a corresponding cabinet type is available, but you can also combine different amps and cabinets.

Selecting and Deactivating Cabinets

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● To switch cabinets on the Cabinets page, click the model that you want to use. Select No

● If you select Link Amplifier & Cabinet Choice, the plug-in automatically selects the

Microphones

On the Microphones page, you can choose between different microphone positions. These positions result from two different angles (center and edge) and three different distances from the speaker, as well as an additional center position at an even greater distance from the speaker.

You can choose between two microphone types: a large-diaphragm condenser microphone and a dynamic microphone. You can crossfade between the characteristics of the two microphones.

● To select one of the microphone types or blend between the two types, turn the Mix

Placing the Microphone

● To select a microphone position, click the corresponding ball in the graphic. The selected

Cabinet if you only want to use the amps and effects.

cabinet corresponding to the selected amp model.

control between the two microphones.

position is marked in red.

Master

Use the Master page to fine-tune the sound.

Input/Output Level Meters

The input and output level meters on the left and the right of the Master section show the signal level of your audio. The rectangle on the input meter indicates the optimum incoming level range. In compact view, the input and output levels are indicated by two LEDs at the top left and right.

Using the Master Controls

● To activate/deactivate the equalizer, click the pedal-like On/Off button. If the equalizer is active, the LED next to the button is lit.

● To activate/deactivate an equalizer band, click the corresponding Gain knob. If a band is active, the LED to the left of the Gain knob is lit.

● To tune your guitar strings, click the pedal-like On/Off button to activate the Tuner and play a string. If the correct pitch is displayed and the row of LEDs below the digital display is green, the string is tuned correctly.

If the pitch is too low, red LEDs are lit on the left. If the pitch is too high, red LEDs are lit on the right. The more LEDs are lit, the lower/higher is the pitch.

● To mute the output signal of the plug-in, click the pedal-like Master button. If the output is muted, the LED is not lit. Use this to tune your guitar in silence, for example.

● To change the volume of the output signal, use the Level control on the Master page.

Configuration

On the Configuration page, you can specify whether you want to use VST Amp Rack in stereo or in mono mode.

● To process the pre-effects, the amplifier, and the cabinets in full stereo mode, make sure that the plug-in is inserted on a stereo track, and activate the Stereo button.

● To use the effect in mono-mode, make sure that the plug-in is inserted on a mono track, and activate the Mono button.

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NOTE

In stereo mode, the effect requires more processing power.

View Settings

You can choose between 2 views: the default view and a compact view, which takes up less screen space.

In the default view, you can use the buttons at the top of the plug-in panel to open the corresponding page in the display section above the amp controls. You can horizontally resize the plug-in panel by clicking and dragging the edges or corners.

In the compact view, the display section is hidden from view. You can change the amp settings and switch amps or cabinets using the mouse wheel.

Using the Smart Controls

Smart controls become visible on the plug-in frame when you move the mouse pointer over on the plug-in panel.

Switching between Default and Compact View

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

Changing the Amplifier and Cabinet Selection in the Compact View

In the compact view, a smart control on the lower border of the plug-in frame allows you to select different amplifier and cabinet models.

● To select a different amplifier or cabinet, click the name and select a different model from the pop-up menu.

● To lock the amplifier and cabinet combination, activate the Link/Unlink Amplifier & Cabinet Choice button. If you now select another amp model, the cabinet selection follows. However, if you select a different cabinet model, the lock is deactivated.

Previewing Effect Settings

In both views, you can show a preview of the pre- and post-effects that you selected on the corresponding pages:

● Click and hold the Show Pre-Effects or Show Post-Effects button at the bottom left or right of the plug-in frame.

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VST Bass Amp

VST Bass Amp is a bass amp simulator. It offers a choice of amplifiers and speaker cabinets that can be combined with stomp box effects.

Cubase LE Cubase AI Cubase

Elements

Included with – – – X X X

Cubase Artist

Cubase Pro

Nuendo

At the top of the plug-in panel, the following buttons open different pages in the display section of the plug-in panel: Pre-Effects, Amplifiers, Cabinets, Post-Effects, Microphones, Configuration, and Master.

These buttons are arranged according to the position of the corresponding elements in the signal chain.

Below the display section, the selected bass amplifier is displayed. The color and texture of the area below the bass amp indicate the selected cabinet.

Pre/Post-Effects

On the Pre-Effects and Post-Effects pages, you can select up to six common bass effects. On both pages, the same effects are available, the only difference being the position in the signal chain (before or after the bass amplifier). On each page, every effect can be used once.

Each effect features an On/Off button known from stompbox effects, as well as individual parameters.

Wah Wah

Pedal – Controls the filter frequency sweep.

Envelope Filter

Range – Determines the frequency range.

Q-Factor – Sets the intensity of the envelope filter effect.

Sensitivity – Determines how sensitive the effect reacts to the instrument level.

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Volume

Compressor

Compressor MB

Limiter

Attack – Determines how quickly an effect reacts to the input signal.

Mix – Sets the level balance between the dry signal and the wet signal.

Type – Sets the filter type.

Release – Determines how quickly the effect fades after the input signal stops.

Pedal – Controls the level of the signal passing through the effect.

Intensity – Sets the amount by which an input signal is being compressed.

Lo Intensity – Sets the compressor effect in the low frequency band. Activate/ deactivate Auto Makeup Mode by clicking the LED at the top right of the knob.

Hi Intensity – Sets the compressor effect in the high frequency band. Activate/ deactivate Auto Makeup Mode by clicking the LED at the top right of the knob.

Crossover – Determines the crossover frequency between the low frequency band

and the high frequency band.

Output – Sets the output level.

Threshold – Determines the maximum output level. Signal levels above the set

threshold are cut off.

Release – Sets the time after which the gain returns to the original level.

Maximizer

Amount – Determines the loudness of the signal.

Chorus

Rate – Allows you to set the sweep rate. This parameter can be synchronized to the

project tempo.

Width – Determines the depth of the chorus effect. Higher settings produce a more pronounced effect.

Tone – Allows you to attenuate low frequencies.

Mix – Sets the level balance between the dry signal and the wet signal.

Phaser

Rate – Allows you to set the sweep rate. This parameter can be synchronized to the

project tempo.

Width – Determines the width of the modulation effect between higher and lower frequencies.

Tone – Allows you to attenuate the low frequencies.

Mix – Sets the level balance between the dry signal and the wet signal.

Flanger

Rate – Allows you to set the sweep rate. This parameter can be synchronized to the

project tempo.

Feedback – Determines the character of the flanger effect. Higher settings produce a more metallic sounding sweep.

Tone – Allows you to attenuate the low frequencies.

Mix – Sets the level balance between the dry signal and the wet signal.

DI Driver

Level – Sets the output level.

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Enhancer

Octaver

Delay

Blend – Blends between normal and tube emulation circuitry. With Blend at 0, Drive and Presence are not active.

Bass – Boosts or attenuates low frequencies.

Treble – Boosts or attenuates high frequencies.

Presence – Boosts or attenuates upper harmonics and attacks.

Drive – Sets gain and overdrive.

Enhance – Simulates the classic enhancer effect.

Tone – Allows you to attenuate low frequencies.

Direct – Adjusts the level of the original signal. A value of 0 means only the

generated and transposed signal is heard. By raising this value, more of the original signal is heard.

Octave 1 – Adjusts the level of the signal that is generated one octave below the original pitch. A setting of 0 means that the voice is muted.

Tone – Changes the sound character of the generated signal.

Delay – Sets the delay time in milliseconds. This parameter can be synchronized to

the project tempo.

Feedback – The higher this setting, the more delay repeats are created.

Mix – Sets the level balance between the dry signal and the wet signal.

Tape Ducking Delay

Delay – The Delay parameter sets the delay time in milliseconds.

Feedback – The higher this setting, the more delay repeats are created.

Duck – Works like an automatic mix parameter. If the level of the input signal is high,

Tone – Allows you to attenuate the low frequencies.

Mix – Sets the level balance between the dry signal and the wet signal.

Overdrive

Drive – Overdrive creates a tube-like overdrive effect. The higher this value, the more

harmonics are added to the output signal of this effect.

Tone – Works as a filter effect on the added harmonics.

Level – Adjusts the output level.

Magneto II

Drive – Controls the amount of tape saturation.

Low/High – These parameters set the frequency range of the spectrum band to

which the tape effect is applied.

HF-Adjust – Sets the amount of high frequency content of the saturated signal.

Gate

Threshold – Determines the level at which the gate is activated. Signal levels above

the set threshold open the gate and signal levels below the set threshold close the gate.

Release – Sets the time after which the gate closes.

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Equalizer

Graphical EQ

Reverb

Sync

Some parameters can be synchronized to the tempo of the host application.

Low – Changes the level of the low-frequency portion of the incoming signal.

Middle – Changes the level of the mid-frequency portion of the incoming signal.

High – Changes the level of the high-frequency portion of the incoming signal.

Display – Consists of 8 sliders that set the level of each frequency band. Allows you

to draw response curves by clicking and dragging with the mouse.

Reset Sliders – At the lower right of the Display. Flattens all values to 0 dB.

Output Slider – Allows you to control the frequency response.

Type – A convolution-based reverb effect. This parameter allows you to switch between the reverb types Studio, Hall, Plate, and Room.

Mix – Sets the level balance between the dry signal and the wet signal.

Using Effects

● To insert a new effect, click the + button that appears if you point the mouse at an empty plug-in slot or at one of the arrows before or after a used effect slot.

● To remove an effect from an effect slot, click the effect name and select None from the pop-up menu.

● To change the order of the effects in the chain, click on an effect and drag it to another position.

● To activate or deactivate an effect, click the pedal-like button below the effect name. If an effect is active, the LED next to the button is lit.

NOTE

● Pre-effects and post-effects can be mono or stereo, depending on the track configuration.

● Using quick controls you can set up an external MIDI device, such as a foot controller, to control the VST Bass Amp effects. For more information about quick controls, see the

Operation Manual.

Amplifiers

The amps available on the Amplifiers page are modeled on real-life amplifiers. Each amp features settings typical for bass recording, such as gain, equalizers, and master volume. The sound-related parameters bass, low mid, high mid, and treble have a significant impact on the

Included Effect Plug-ins Distortion Plug-ins

overall character and sound of the corresponding amp. Shape 1 and Shape 2 offer predefined tone shaping.

ValveAmp300

Greyhound

GreenT

Paradise

Tweed

iTech

A famous tube amplifier from the 70s, useful for rock playing styles.

An amplifier, well known for its typical growl, useful for several playing styles.

A classic amplifier from the 80s, useful for funk and rock playing styles.

An amplifier from the 90s, with a hifi-like clear tone, that makes it applicable for several styles.

A classic vintage amplifier from the 50s, with a characterful and bright tone. Originally created for bassists, also used by many guitar players.

A modern amplifier, with a universal sound.

The different amps keep their settings if you switch models, but amp settings are lost when closing VST Bass AMP. If you want to use the same settings after reloading the plug-in, you need to set up a preset.

Selecting and Deactivating Amplifiers

To switch amps on the Amplifiers page, click the model that you want to use. Select No Amplifier if you only want to use the cabinets and effects.

NOTE

To scroll through amplifiers, use the mouse wheel when hovering over the amplifier panel.

Cabinets

The cabinets available on the Cabinets page simulate real-life combo boxes or speakers. For each amp, a corresponding cabinet type is available, but you can also combine different amps and cabinets.

The following cabinets are available:

4x10"

10" speakers provide a punchy clear sound that is suitable for “Slap” bass and regular playing styles.

10" speakers have a cleaner sound and more punch than 15" speakers.

8x10"

Compared to 4x10", double the amount of speakers.

4x12"

12" speakers provide a mellow and full sound, making them a good choice between 10" and 15" speakers.

1x15"

15" speakers provide more low frequencies compared to the other cabinets. They are suitable for rock and vintage oriented styles.

Selecting and Deactivating Cabinets

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● To switch cabinets on the Cabinets page, click the model that you want to use. Select No

● If you select Link Amplifier & Cabinet Choice, the plug-in automatically selects the

Microphones

On the Microphones page, you can choose between different microphone types.

121

409

421

545

Cabinet if you only want to use the amps and effects.

cabinet corresponding to the selected amp model.

Dynamic microphone with cardioid pickup pattern.

Ribbon microphone with figure-8 pattern.

Dynamic microphone with supercardioid pickup pattern.

Dynamic microphone with cardioid polar pattern.

Dynamic microphone with cardioid pattern that minimizes feedback.

Dynamic microphone with cardioid pickup pattern.

Reference and measurement microphone with omni directional polar pattern.

Condenser microphone with omni directional pattern.

You can choose between different microphone positions. These positions result from two different angles (on axis and off axis) and three different distances from the cabinet.

You can crossfade between the characteristics of the two microphones.

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

● To select a microphone position, click the corresponding ball in front of the cabinet. The selected position is marked in red.

● To determine the ratio between line and mic, turn the Mix control on the left of the cabinet.

NOTE

To scroll through microphones, use the mouse wheel when hovering over a microphone.

Master

Use the Master page to fine-tune the sound.

Input/Output Level Meters

The input and output level meters on the left and the right of the Master section show the signal level of your audio. The rectangle on the input meter indicates the optimum incoming level range. In all other views, the input and output levels are indicated by two LEDs at the top left and right.

Using the Master Controls

+ 202 hidden pages

Steinberg Cubase 9.5, Cubase Pro - 9.5 Plug-in Reference

Table of Contents

Delay Plug-ins

ModMachine

Included Effect Plug-ins

MonoDelay

PingPongDelay

StereoDelay

Distortion Plug-ins

AmpSimulator

BitCrusher

DaTube

Distortion

Grungelizer

Magneto II

Quadrafuzz v2

SoftClipper

VST Amp Rack

VST Bass Amp