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.

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

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

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

Pre/Post-Effects

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

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

Wah Wah

Pedal – Controls the filter frequency sweep.

Envelope Filter

Range – Determines the frequency range.

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

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

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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

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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

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● To activate/deactivate the equalizer, click the pedal-like On/Off button. If the equalizer is

● To activate/deactivate an equalizer band, click the corresponding Gain knob. If a band is

● To tune your guitar strings, click the pedal-like On/Off button to activate Tuner and play

● To mute the output signal of the plug-in, click the pedal-like Master button. If the output is

● 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 Bass Amp in stereo or in mono mode.

active, the LED next to the button is lit.

active, the LED to the left of the Gain knob is lit.

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.

muted, the LED is not lit. Use this to tune your guitar in silence, for example.

NOTE

Master EQ functions only when a cabinet is selected.

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

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

NOTE

In stereo mode, the effect requires more processing power. Use mono configuration on a stereo track to save processing power.

View Settings

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

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

Using the Smart Controls

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

Switching between Default and Compact View

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

Changing the Amplifier and Cabinet Selection in the Compact View

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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

● To lock the amplifier and cabinet combination, activate the Link/Unlink Amplifier &

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

the pop-up menu.

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.

right of the plug-in frame.

RELATED LINKS

Tuner on page 141

Dynamics Plug-ins

Brickwall Limiter

Brickwall Limiter ensures that the output level never exceeds a set limit.

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Due to its fast attack time, Brickwall Limiter can reduce even short audio level peaks without creating audible artifacts. However, this plug-in creates a latency of 1ms. Brickwall Limiter features separate meters for input, output, and the amount of limiting. Position this plug-in at the end of the signal chain, before dithering.

Threshold (-20 to 0 dB)

Release (3 to 1000 ms or Auto mode)

Link

Detect Intersample Clipping

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

Sets the time after which the gain returns to the original level when the signal drops below the threshold. If the Auto button is activated, the plug-in automatically finds the best release setting for the audio material.

If this button is activated, Brickwall Limiter uses the channel with the highest level to analyze the input signal. If the button is deactivated, each channel is analyzed separately.

If this option is activated, Brickwall Limiter uses oversampling to detect and limit signal levels between two samples to prevent distortion when converting digital signals into analog signals.

NOTE

Brickwall Limiter is designed for the reduction of occasional peaks in the signal. If the Gain Reduction meter indicates constant limiting, try raising the threshold or lowering the overall level of the input signal.

Compressor

This plug-in reduces the dynamic range of the audio, making softer sounds louder or louder sounds softer, or both.

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Side-chain support

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Compressor features a separate display that graphically illustrates the compressor curve that is shaped according to the Threshold and Ratio parameter settings. Compressor also features a Gain Reduction meter that shows the amount of gain reduction in dB, Soft knee/Hard knee compression modes, and a program-dependent auto feature for the Release parameter.

Threshold (-60 to 0 dB)

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

Ratio

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

Soft Knee

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

High Ratio

Sets the ratio to a fixed value of 20:1.

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

Compensates for output gain loss, caused by compression. If the Auto button is activated, the knob becomes dark and the output is automatically adjusted for gain loss.

Dry Mix

Mixes the dry input signal to the compressed signal.

Attack (0.1 to 100 ms)

Determines how fast the compressor responds to signals above the set threshold. If the attack time is long, more of the early part of the signal passes through unprocessed.

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Hold (0 to 5000 ms)

Release (10 to 1000 ms or Auto mode)

Analysis (Pure Peak to Pure RMS)

Live

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

Sets the time after which the gain returns to its original level when the signal drops below the threshold. If the Auto button is activated, the plug-in automatically finds the best release setting for the audio material.

Determines whether the input signal is analyzed according to peak or RMS values, or a mixture of both. A value of 0 is pure peak and 100 pure RMS. RMS mode operates using the average power of the audio signal as a basis, whereas Peak mode operates more on peak levels. As a general guideline, RMS mode works better on material with few transients such as vocals, and Peak mode works better for percussive material with a lot of transient peaks.

If this button is activated, the look-ahead feature of the effect is deactivated. Lookahead produces more accurate processing, but adds a specific amount of latency as a trade-off. If Live mode is activated, there is no latency, which is better for live processing.

DeEsser

This effect reduces excessive sibilance, primarily for vocal recordings. It is a special type of compressor that is tuned to be sensitive to the frequencies produced by the s-sound.

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Close proximity microphone placement and equalizing can lead to situations where the overall sound is just right, but there is a problem with sibilants.

Display

Shows the spectrum of the input signal.

● To adjust the frequency band, drag the border lines or click in the middle of the band and drag.

● To change the width of the frequency band, hold Shift and drag to the left or right.

Filter

Lo/Hi

Sets the left and right border of the frequency band. You can set the frequency either in Hz or as a note value. If you enter a note value, the frequency is automatically displayed in Hz accordingly. For example, a note value of A3 sets the frequency to 440 Hz. When you enter a note value, you can also enter a cent offset. For example, enter A5 -23 or C4 +49.

NOTE

Make sure that you enter a space between the note and the cent offset. Only in this case, the cent offsets are taken into account.

Solo

Solos the frequency band. This helps you to find the appropriate position and width of that band.

Diff

Plays back what DeEsser removed from the signal. This help you to adjust the frequency band, threshold, and reduction parameters, so that only sharp s-sounds are removed, for example.

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Dynamics

Reduction

Threshold (-50 to 0 dB)

Release (1 to 1000 ms)

Auto

Side-Chain

Freq (25 Hz to 20 kHz)

Controls the intensity of the de-essing effect.

If the Auto option is deactivated, you can use this control to set a threshold for the incoming signal level above which the plug-in starts to reduce the sibilants.

Sets the time after which the de-essing effect returns to zero when the signal drops below the threshold.

Automatically and continually sets an optimum threshold setting independent of the input signal. The Auto option does not work for low-level signals (<-30 db peak level). To reduce the sibilants in such a file, set the threshold manually.

If the Side-Chain button is activated, this sets the frequency of the filter. You can set the frequency either in Hz or as a note value. If you enter a note value, the frequency is automatically displayed in Hz accordingly. For example, a note value of A3 sets the frequency to 440 Hz. When you enter a note value, you can also enter a cent offset. For example, enter A5 -23 or C4 +49.

NOTE

Make sure that you enter a space between the note and the cent offset. Only in this case, the cent offsets are taken into account.

Q-Factor

If the Side-Chain button is activated, this sets the resonance or width of the filter.

Side

Activates the internal side-chain filter. You can now shape the input signal according to the filter parameters. Internal side-chaining can be useful for tailoring how the gate operates.

Monitor

Allows you to monitor the filtered signal.

Live

Positioning the DeEsser in the Signal Chain

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

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EnvelopeShaper

This plug-in can be used to attenuate or boost the gain of the attack and release phase of audio material.

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Side-chain support

You can use the knobs or drag the breakpoints in the graphical display to change parameter values. Be careful with levels when boosting the gain and if needed reduce the output level to avoid clipping.

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Attack (-20 to 20 dB)

Sets the gain of the attack phase of the signal.

Length (5 to 200 ms)

Sets the length of the attack phase.

Release (-20 to 20 dB)

Sets the gain of the release phase of the signal.

Output

Sets the output level.

NOTE

If side-chaining is supported, the effect can also be controlled from another signal source via the side-chain input. If the side-chain signal exceeds the threshold, the effect is triggered. For a description of how to set up side-chain routing, see the Operation Manual.

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Expander

Expander reduces the output level in relation to the input level for signals below the set threshold. This is useful if you want to enhance the dynamic range or reduce the noise in quiet passages.

You can either use the knobs or drag the breakpoints in the graphical display to change the

Threshold and the Ratio parameter values.

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Threshold (-60 to 0 dB)

Determines the level where the expansion kicks in. Only signal levels below the set threshold are processed.

Ratio

Sets the amount of gain boost applied to signals below the threshold.

Soft Knee

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

Fall (0.1 to 100 ms)

Determines how fast the expander responds to signals below the set threshold. If the fall time is long, more of the early part of the signal passes through unprocessed.

Hold (0 to 2000 ms)

Sets the time the applied expansion affects the signal below the threshold.

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Rise (10 to 1000 ms or Auto mode)

Analysis (Pure Peak to Pure RMS)

Live

NOTE

If side-chaining is supported, the expansion can also be controlled from another signal source via the side-chain input. If the side-chain signal exceeds the threshold, the expansion is triggered. For a description of how to set up side-chain routing, see the Operation Manual.

Sets the time after which the gain returns to its original level when the signal exceeds the threshold. If the Auto Rise button is activated, the plug-in automatically finds the best rise setting for the audio material.

Gate

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

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Attack (0.1 to 1000 ms)

Hold (0 to 2000 ms)

Release (10 to 1000 ms or Auto mode)

Threshold (-60 to 0 dB)

State LED

Sets the time after which the gate opens when it is triggered.

NOTE

Deactivate the Live button to make sure that the gate is already open when a signal above the threshold is played back.

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

Sets the time after which the gate closes (after the set Hold time). If Auto Release is activated, Gate automatically finds the best release setting for the audio material.

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

Indicates whether the gate is open (LED lights up in green), closed (LED lights up in red) or in an intermediate state (LED lights up in yellow).

Analysis (Pure Peak to Pure RMS)

Range

Adjusts the attenuation of the gate when it is shut. If Range is set to minus infinite

, the gate is completely shut. The higher the value, the higher the level of the

signal that passes through the shut gate.

Live

Side-Chain Section

Side-Chain

Activates the internal side-chain filter. The input signal can then be shaped according to the filter parameters. Internal side-chaining is useful for tailoring how the gate operates.

Monitor

Allows you to monitor the filtered signal.

Center (50 to 20000 Hz)

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

Q-Factor

If the Side-Chain button is activated, this sets the resonance or width of the filter.

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Filter buttons (LP, BP, and HP)

NOTE

If side-chaining is supported, the gate can also be controlled from another signal source via the side-chain input. If the side-chain signal exceeds the threshold, the gate opens. For a description of how to set up side-chain routing, see the Operation Manual.

Limiter

This plug-in is designed to ensure that the output level never exceeds a set output level, to avoid clipping in following devices.

If the Side-Chain button is activated, you can use these buttons to set the filter type to low-pass, band-pass, or high-pass.

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Limiter can adjust and optimize the Release parameter automatically according to the audio material, or it can be set manually. Limiter also features separate meters for the input, output and the amount of limiting (middle meters).

Input (-24 to 24 dB)

Sets the input gain.

Release (0.1 to 1000 ms or Auto mode)

Sets the time after which the gain returns to its original level. If Auto Release is activated, the plug-in automatically finds the best release setting for the audio material.

Output

Sets the maximum output level.

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Maximizer

Maximizer raises the loudness of audio material without the risk of clipping. The plug-in provides two modes, Classic and Modern, that offer different algorithms and parameters.

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Classic

Classic mode provides the classic algorithms from previous versions of this plug-in.

This mode is suited for all styles of music.

Modern

In Modern mode, the algorithm allows for more loudness than in Classic mode. This mode is particularly suited for contemporary styles of music.

Modern mode also provides additional settings to control the release phase:

● Release sets the overall release time.

● Recover allows for a faster signal recovering at the beginning of the release

phase.

Optimize

Determines the loudness of the signal.

Mix

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

Output

Sets the maximum output level.

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Soft Clip

MIDI Gate

This plug-in gates audio signals. The gate is triggered by MIDI notes.

If this button is activated, Maximizer starts limiting or clipping the signal softly. At the same time, harmonics are generated, adding a warm, tube-like characteristic to the audio material.

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Gating, in its fundamental form, silences audio signals below a set threshold. If a signal rises above the set level, the gate opens to let the signal through. Signals below the set level are silenced. MIDI Gate, however, is not triggered by threshold levels, but MIDI notes. Therefore, it needs both audio and MIDI data to function.

Attack (0 to 500 ms)

Sets the time after which the gate opens when it is triggered.

Hold

Determines how long the gate remains open after a note-on or note-off message. The Hold Mode settings are taken into account.

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Release (0 to 3000 ms)

Sets the time after which the gate closes after the set Hold time.

Note To Attack

Determines to which extent the velocity values of the MIDI notes affect the attack time. The higher the value, the more the attack time increases with high note velocities. Negative values result in shorter attack times with high velocities. If you do not want to use this parameter, set it to 0.

Note To Release

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

Velocity To VCA

Controls to which extent the velocity values of the MIDI notes determine the output volume. At a value of 127, the volume is controlled entirely by the velocity values, and at a value of 0, the velocities have no effect on the volume.

Included Effect Plug-ins Dynamics Plug-ins

Hold Mode

Sets the Hold Mode.

● In Note-On mode, the gate only remains open for the time set with the Hold

● In Note-Off mode, the gate remains open for as long as the MIDI note plays.

Setting Up MIDI Gate

To use MIDI Gate for your audio, you need an audio track and a MIDI track.

PROCEDURE

1. Select the audio track to which you want to apply MIDI Gate.

This can be recorded or realtime audio material from any audio track.

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

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

You can either play notes on a connected MIDI keyboard or use recorded MIDI notes.

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

and Release parameters, regardless of the length of the MIDI note that triggered the gate.

The Hold and Release parameters are applied once a note-off signal has been received.

Applying MIDI Gate

PREREQUISITE

Set up the plug-in properly.

How to apply MIDI Gate depends on whether you are using realtime or recorded MIDI. We assume for the purposes of this manual that you are using recorded audio and play the MIDI in realtime.

PROCEDURE

1. If you use realtime MIDI to trigger the plug-in, make sure the MIDI track is selected.

2. Start playback.

3. If you use realtime MIDI, play a few notes on your keyboard.

RESULT

The MIDI notes trigger the Gate. The plug-in gates the audio signals.

RELATED LINKS

Setting Up MIDI Gate on page 45

MultibandCompressor

MultibandCompressor allows a signal to be split into four frequency bands. You can specify the level, bandwidth, and compressor characteristics for each band.

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Side-chain support

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NOTE

To compensate for output gain loss that is caused by compression, MultibandCompressor uses an automatic make-up gain. If side-chaining is activated for a frequency band in the side-chain section, the automatic make-up gain is deactivated for this band.

Frequency Band Editor

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

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

● To attenuate or boost the gain of the frequency bands by ±15 dB after compression, use the handles at the top of each frequency band.

Live

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Bypassing Frequency Bands

Soloing Frequency Bands

Output (-24 to 24 dB)

Compressor Section

You can specify the Threshold and Ratio by moving breakpoints or using the corresponding knobs. The threshold is marked by the first breakpoint where the line deviates from the straight diagonal.

Threshold (-60 to 0 dB)

Ratio

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

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

Sets the output level.

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

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

Attack (0.1 to 100 ms)

Determines how fast the compressor responds to signals above the set threshold. If the attack time is long, more of the early part of the signal passes through unprocessed.

Release (10 to 1000 ms or Auto mode)

Side-Chain Section

To open the side-chain section, click the SC button at the bottom left of the plug-in window.

IMPORTANT

To be able to use the side-chain function for the bands, global side-chain must be activated for the plug-in.

Frequency

If the Side-Chain button is activated, this sets the frequency of the side-chain filter.

Q-Factor

If the Side-Chain button is activated, this sets the resonance or width of the filter.

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Side-Chain

Activates the internal side-chain filter. The side-chain signal can then be shaped according to the filter parameter.

Monitor

Allows you to monitor the filtered signal.

MultibandEnvelopeShaper

This plug-in allows a signal to be split into four frequency bands. You can attenuate or boost the gain of the attack and release phase of audio material for each band.

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Frequency Band Editor

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

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

● To attenuate or boost the gain of the frequency band, use the handles at the top of each frequency band.

Included Effect Plug-ins Dynamics Plug-ins

Live

Bypassing Frequency Bands

Soloing Frequency Bands

Output (-24 to 24 dB)

Shaper Section

You can specify the Attack, Length, and Release by moving breakpoints or using the corresponding knobs. Be careful with levels when boosting the gain. You can reduce the output level to avoid clipping.

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

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

Sets the output level.

Attack (-20 to 20 dB)

Sets the gain of the attack phase of the signal.

Length (5 to 200 ms)

Sets the length of the attack phase.

Release (-20 to 20 dB)

Sets the gain of the release phase of the signal.

Sensitivity (-40 to -10 dB)

Sets the sensitivity of the detection.

Output

Sets the output level.

MultibandExpander

This plug-in allows a signal to be split into four frequency bands. You can reduce the output level in relation to the input level for signals below the set threshold for each band. This is useful if you want to enhance the dynamic range or reduce the noise in quiet passages.

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Frequency Band Editor

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

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

● To attenuate or boost the gain of the frequency band after expansion, use the handles on top of each frequency band.

Live

Bypassing Frequency Bands

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

Soloing Frequency Bands

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

Output (-24 to 24 dB)

Sets the output level.

Included Effect Plug-ins Dynamics Plug-ins

Expander Section

You can specify the Threshold and Ratio by moving breakpoints or using the corresponding knobs. The first breakpoint from which the line deviates from the straight diagonal is the threshold point.

Threshold (-60 to 0 dB)

Ratio

Maximum Reduction

Fall (0.1 to 100 ms)

Hold (0 to 2000 ms)

Determines the level where the expansion kicks in. Only signal levels below the set threshold are processed.

Sets the amount of gain boost applied to signals below the threshold.

Sets the maximum amount by which the level is reduced when the signal falls below the set threshold.

Determines how fast the expander responds to signals below the set threshold. If the fall time is long, more of the early part of the signal passes through unprocessed.

Sets the time the applied expansion affects the signal below the threshold.

Rise (10 to 1000 ms or Auto mode)

Output

Sets the output level.

Side-Chain Section

Frequency

If the Side-Chain button is activated, this sets the frequency of the side-chain filter.

Q-Factor

If the Side-Chain button is activated, this sets the resonance or width of the filter.

Side-Chain

Activates the internal side-chain filter. The side-chain signal can then be shaped according to the filter parameters. Side-chaining is useful for tailoring how the effect operates.

Monitor

Allows you to monitor the filtered signal.

Included Effect Plug-ins Dynamics Plug-ins

Tube Compressor

This versatile compressor with integrated tube-simulation allows you to achieve smooth and warm compression effects. The VU meter shows the amount of gain reduction. Tube Compressor features an internal side-chain section that lets you filter the trigger signal.

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Drive (1.0 to 6.0 dB)

Controls the amount of tube saturation.

Input

Determines the compression amount. The higher the input gain, the more compression is applied.

Ratio

Toggles between a low and a high ratio value.

Output (-12 to 12 dB)

Sets the output gain.

Character

Keeps the bass tight and preserves its attacks by decreasing the tube saturation for lower frequencies, and adds brilliance by creating harmonics for higher frequencies.

Attack (0.1 to 100 ms)

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

Included Effect Plug-ins Dynamics Plug-ins

Release (10 to 1000 ms or Auto mode)

Mix

In/Out Meters

VU Meter

Side-Chain

Side-chain section

Sets the time after which the gain returns to its original level. If the Auto button is activated, the plug-in automatically finds the best release setting for the audio material.

Adjusts the mix between dry signal and wet signal, preserving the transients of the input signal.

Show the highest peaks of all available input and output channels.

Shows the amount of gain reduction.

Activates the internal side-chain filter. The input signal can then be shaped according to the filter parameters. Internal side-chaining is useful for tailoring how the gate operates.

Filter buttons (LP, BP, and HP)

If the Side-Chain button is activated, you can use these buttons to set the filter type to low-pass, band-pass, or high-pass.

Center (50 to 20000 Hz)

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

Q-Factor

If the Side-Chain button is activated, this sets the resonance or width of the filter.

Monitor

Allows you to monitor the filtered signal.

VintageCompressor

VintageCompressor is modeled after vintage type compressors.

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Side-chain support

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This compressor features separate controls for Input and Output gain, Attack, and Release. In addition, there is a Punch mode which preserves the attack phase of the signal and a programdependent Auto feature for the Release parameter.

Included Effect Plug-ins Dynamics Plug-ins

Input

Output (-48 to 24 dB)

Attack (0.1 to 100 ms)

Determines the compression amount. The higher the input gain, the more compression is applied.

Sets the output gain.

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

Punch

Release (10 to 1000 ms or Auto mode)

Mix

VU Meter

In/Out Meters

VSTDynamics

VSTDynamics is an advanced dynamics processor. It combines three separate processors: Gate, Compressor, and Limiter, covering a variety of dynamic processing functions.

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

Sets the time after which the gain returns to its original level. If the Auto button is activated, the plug-in automatically finds the best release setting for the audio material.

Adjusts the mix between dry signal and wet signal, preserving the transients of the input signal.

Shows the amount of gain reduction.

Show the highest peaks of all available input and output channels.

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The window is divided into three sections, containing controls and meters for each processor. Activate the individual processors using the buttons Gate, Compressor, and Limiter at the bottom of the plug-in panel.

Gate Section

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

The following parameters are available:

Threshold (-60 to 0 dB)

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

State LED

Indicates whether the gate is open (LED lights up in green), closed (LED lights up in red) or in an intermediate state (LED lights up in yellow).

Side-Chain

Activates the internal side-chain filter. The input signal can then be shaped according to the filter parameters. Internal side-chaining is useful for tailoring how the gate operates.

Filter buttons (LP, BP, and HP)

If the Side-Chain button is activated, you can use these buttons to set the filter type to low-pass, band-pass, or high-pass.

Center (50 to 20000 Hz)

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

Q-Factor

If the Side-Chain button is activated, this sets the resonance or width of the filter.

Monitor

Allows you to monitor the filtered signal.

Attack (0.1 to 100 ms)

Determines how fast the compressor responds to signals above the set threshold. If the attack time is long, more of the early part of the signal passes through unprocessed.

Hold (0 to 2000 ms)

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

Included Effect Plug-ins Dynamics Plug-ins

Release (10 to 1000 ms or Auto mode)

Range

Input Gain Meter

Compressor Section

The compressor reduces the dynamic range of the audio, making softer sounds louder or louder sounds softer, or both. The compressor features a separate display that graphically illustrates the compressor curve shaped according to your settings.

Threshold (-60 to 0 dB)

Sets the time after which the gate closes after the set Hold time. If the Auto button is activated, the plug-in automatically finds the best release setting for the audio material.

Adjusts the attenuation of the gate when it is shut. If Range is set to minus infinite

, the gate is completely shut. The higher the value, the higher the level of the

signal that passes through the shut gate.

Shows the input gain.

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

Ratio

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

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

Compensates for output gain loss, caused by compression. If the Auto button is activated, the knob becomes dark and the output is automatically adjusted for gain loss.

Attack (0.1 to 100 ms)

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

Release (10 to 1000 ms or Auto mode)

Graphical display

Use the graphical display to graphically set the threshold and ratio values. To the left and right of the graphical display, you find two meters that show the amount of gain reduction in dB.

Limiter Section

The limiter ensures that the output level never exceeds a set threshold, to avoid clipping in following devices. Conventional limiters usually require very accurate setting up of the attack and release parameters to prevent the output level from going beyond the set threshold level. The limiter adjusts and optimizes these parameters automatically according to the audio material.

Output

Sets the maximum output level.

Included Effect Plug-ins EQ Plug-ins

Soft Clip

Release (10 to 1000 ms or Auto mode)

Meters

Module Configuration Button

Using the Module Configuration button in the bottom right corner of the plug-in panel, you can set the signal flow order for the three processors. Changing the order of the processors can produce different results, and the available options allow you to quickly compare what works best for a given situation. Simply click the Module Configuration button to change to a different configuration. There are three routing options:

If this button is activated, the signal is limited when the signal level exceeds -6 dB. At the same time, harmonics are generated, adding a warm, tube-like characteristic to the audio material.

Sets the time after which the gain returns to its original level. If the Auto button is activated, the plug-in automatically finds the best release setting for the audio material.

The three meters show the input gain (IN), the gain reduction (GR) and the output gain (OUT).

● C-G-L (Compressor-Gate-Limit)

● G-C-L (Gate-Compressor-Limit)

● C-L-G (Compressor-Limit-Gate)

EQ Plug-ins

CurveEQ

Voxengo CurveEQ is a spline equalizer for professional music and audio production applications. CurveEQ shows the filter response you are designing by means of a spline, that is, a smooth curvy line. This way you can see how the EQ alters the sound.

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CurveEQ implements spectrum matching technology that allows you to transfer the spectral shape of one recording to another. In other words, you can copy the frequency balance of existing time-proven mixes so that other mixes can be improved. CurveEQ’s filters can be switched between linear-phase and minimum-phase modes. CurveEQ also features a customizable spectrum analyzer. Furthermore, you can display, save, and load static spectrum plots for comparison and matching purposes.

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For detailed information about CurveEQ and its parameters, refer to the documentation provided by Voxengo at http://www.voxengo.com.

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DJ-EQ

This plug-in is an easy-to-use 3-band parametric equalizer that resembles the EQs found on typical DJ mixers. This plug-in is designed for quick sound fixes.

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● To set the Low, Mid, and Hi frequency bands, click and drag the EQ points.

● To fine-adjust the Low, Mid, and Hi frequency bands, press Shift and drag the EQ points.

● To set a parameter to zero, press Ctrl/Cmd and click it.

● To change the Gain values, click them and move the mouse up or down.

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Low Gain

Sets the amount of boost or attenuation for the low band.

Low Kill (Activates Low Cut)

Cuts the low band.

Mid Gain

Sets the amount of attenuation/boost for the mid band.

Mid Kill (Activates Mid Cut)

Cuts the mid band.

Hi Gain

Sets the amount of boost or attenuation for the high band.

Hi Kill (Activates High Cut)

Cuts the high band.

Output meter

Indicates the level of the output signal.

Included Effect Plug-ins EQ Plug-ins

GEQ-10/GEQ-30

These graphic equalizers are identical, except for the number of available frequency bands (10 and 30).

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Each band can be attenuated or boosted by up to 12 dB, allowing for fine control of the frequency response. In addition, there are several preset modes available that can add color to the sound of GEQ-10/GEQ-30.

You can draw response curves in the main display by clicking and dragging with the mouse. You have to click one of the sliders before you drag across the display.

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At the bottom of the window, the individual frequency bands are shown in Hz. At the top of the display, the amount of attenuation/boost is shown in dB.

Output

Sets the overall gain of the equalizer.

Flatten

Resets all the frequency bands to 0 dB.

Range

Allows you to adjust how much a set curve cuts or boosts the signal.

Invert

Inverts the current response curve.

Mode pop-up menu

This pop-up menu allows you to set the filter mode that determines how the various frequency band controls interact to create the response curve.

EQ Modes

The Mode pop-up menu in the lower right corner allows you to select an EQ mode, which add color or character to the equalized output in various ways.

True Response

Applies serial filters with an accurate frequency response.

Digi Standard

In this mode, the resonance of the last band depends on the sample rate.

Included Effect Plug-ins EQ Plug-ins

Classic

VariableQ

ConstQ u

ConstQ s

Resonant

StudioEQ

Applies a classic parallel filter structure where the response does not follow the set gain values accurately.

Applies parallel filters where the resonance depends on the amount of gain.

Applies parallel filters where the resonance of the first and last bands depends on the sample rate.

Applies parallel filters where the resonance is raised when boosting the gain and vice versa.

Applies serial filters where a gain increase of one band lowers the gain in adjacent bands.

Studio EQ is a high-quality 4-band parametric stereo equalizer with two fully parametric midrange bands. The low and high bands can act as either shelving filters (three types), or as peak filter (band-pass), or as cut filter (low-pass/high-pass).

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Gain (-20 to +24 dB)

Sets the amount of attenuation/boost for the corresponding band.

Inv

Inverts the gain value of the filter. Use this button to filter out unwanted noise. When looking for the frequency to omit, it sometimes helps to boost it in the first place (set the filter to positive gain). After you have found the frequency of the noise, you can use the Inv button to cancel it out.

Included Effect Plug-ins EQ Plug-ins

Freq (20 to 20000 Hz)

Q-Factor

Filter mode

Sets the frequency of the corresponding band. You can set the frequency either in Hz or as a note value. If you enter a note value, the frequency is automatically changed to Hz. For example, a note value of A3 sets the frequency to 440 Hz. When you enter a note value, you can also enter a cent offset. For example, enter A5 -23 or C4 +49.

NOTE

Ensure that you enter a space between the note and the cent offset. Only in this case, the cent offsets are taken into account.

Controls the width, or resonance, of the corresponding band.

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

● Shelf I adds resonance in the opposite gain direction slightly above the set

frequency.

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

● Shelf III is a combination of Shelf I and II.

Output (-24 to +24 dB)

Auto Gain

Spectrum

Reset

Making Settings

PROCEDURE

1. Click the corresponding On/Off button on the left of the plug-in panel to activate any or all

2. Set the parameters for an activated EQ band.

This knob on the top right of the plug-in panel allows you to adjust the overall output level.

If this button is activated, the gain is automatically adjusted, keeping the output level constant regardless of the EQ settings.

Shows the spectrum before and after filtering.

Resets the EQ settings.

of the 4 equalizer bands (Low, Mid 1, Mid 2, and High).

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

This can be done in several ways:

●

By using the knobs.

●

By clicking on the numeric values and entering new values.

●

By dragging points in the EQ curve display.

Included Effect Plug-ins EQ Plug-ins

Using Modifier Keys

When using the mouse to change the parameter settings, modifier keys can be used. When no modifier key is pressed and you drag an EQ point in the display, the Gain and Frequency parameters are adjusted simultaneously.

Shift

If you keep Shift pressed and drag the mouse, the Q-factor of the corresponding EQ band is modified.

Alt

If you keep Alt pressed and drag the mouse, the frequency of the corresponding EQ band is modified.

Ctrl/Cmd

If you keep Ctrl/Cmd pressed and drag the mouse, the gain value of the corresponding EQ band is modified.

Frequency

Frequency is a high-quality equalizer with 8 fully parametric bands. The bands can act as either

shelving filter, as peak or notch filter (band-pass), or as cut filter (low-pass/high-pass).

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Included Effect Plug-ins EQ Plug-ins

Main Layout

Reset

Auto Listen for Filters

Global Settings

Show/Hide Keyboard

Alt-click this button to reset all parameter values.

If this option is activated and you edit a parameter of a band, the corresponding frequency range is isolated. This helps you to focus on a particular frequency range and allows you to locate unwanted frequencies in your audio.

Opens the settings dialog for the spectrum display.

Shows/Hides the keyboard below the graphical editor.

On the keyboard, color indicators reflect the center frequencies of all active equalizer bands. You can adjust the frequency of a band by dragging its color indicator. If you drag the color indicator of a band to a key, the band is set to its exact frequency.

Output

Adjusts the overall output level.

Band Settings

On/Off

Activates/Deactivates the corresponding band.

NOTE

● To activate/deactivate a band, you can also double-click the corresponding

handle in the graphical editor.

● If a band is deactivated, you can still modify its parameters.

Processing Switches

Allow you to switch between left/right, stereo, and mid/side processing. In Left/ Right or Mid/Side processing mode, you can make different settings for the two

channels.

NOTE

This setting is only available for stereo tracks.

Linear Phase

Activates/Deactivates linear phase mode for the corresponding band.

Linear phase mode avoids unwanted frequency dependent phase shifts of the audio signal that might occur with standard minimum phase equalizing.

NOTE

● Linear phase mode leads to an increase in latency.

Included Effect Plug-ins EQ Plug-ins

Equalizer Section

Type

● In rare cases, for example, when using low cut filtering with a high slope for

bass signals, also an unwanted pre-ringing effect may be audible.

You can choose between the EQ types Low Shelf, Peak, High Shelf, and Notch. For band 1 and 8, you can also select the types Cut 6, Cut 12, Cut 24, Cut 48, and Cut 96.

● Low Shelf boosts or attenuates frequencies below the cutoff frequency by the

specified amount.

● Peak boosts or attenuates frequencies at the set frequency value with a bell

shaped filter.

● High Shelf boosts or attenuates frequencies above the cutoff frequency by the

specified amount.

● Notch boosts or attenuates frequencies at the set frequency value with a very

narrow filter.

● Cut attenuates frequencies below (band 1) or above (band 8) the set

frequency. You can choose between different slopes: 6 dB, 12 dB, 24 dB, 48 dB, or 96 dB per octave.

FREQ

Sets the center frequency of the corresponding band.

If the band is active, the frequency value is reflected as a highlighted key on the keyboard below the graphical editor.

For Peak and Notch filters, this parameter controls the width of the band. For Low Shelf and High Shelf filters, it adds a drop or a boost, depending on the gain setting

of the band. For Cut filters, it adds a resonance.

NOTE

● You can adjust the Q parameter of a band in the graphical editor by pointing

on the corresponding handle and turning the mouse wheel.

● This parameter is not available for Cut 6 filters.

Gain

Sets the amount of attenuation/boost for the corresponding band.

Invert Gain

Inverts the value of the gain parameter. Positive gain values become negative and vice versa.

Included Effect Plug-ins Filter Plug-ins

Global Settings

● To open the Global Settings, click Global Settings above the spectrum display.

Spectrum Display

Show Spectrum

Peak Hold

Smooth

Bar Graph

Two Channels

Activates/Deactivates the spectrum display.

Holds the peak values of the spectrum display for a short time.

Determines the reaction time of the spectrum display. Lower values result in faster reaction times.

If this option is activated, the frequency spectrum is analyzed into 60 separate bands that are displayed as vertical bars.

If this option is activated, the spectrum of the left and right channels are displayed separately.

Slope

Tilts the spectrum display around the 1 kHz pivot.

EQ Curve

Show Curve

Shows/Hides the EQ curve in the spectrum display.

Filled

If this option is activated, the EQ curve is filled. Amount allows you to specify the degree of coverage between 10 and 80 %.

Filter Plug-ins

DualFilter

This plug-in filters out specific frequencies while allowing others to pass through.

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Included Effect Plug-ins Filter Plug-ins

Position

Resonance

MorphFilter

Sets the filter cutoff frequency. If you set this to a negative value, DualFilter acts as a low-pass filter. Positive values cause DualFilter to act as a high-pass filter.

Sets the sound characteristic of the filter. With higher values, a ringing sound is heard.

This plug-in lets you mix low-pass, high-pass, band-pass, and band-reduction filter effects, allowing for creative morphings between two filters.

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Included Effect Plug-ins Filter Plug-ins

1 High Pass (6, 12, 18, 24 dB per decade)

2 Band Rejection (12, 24 dB/per decade)

3 Resonance Factor

4 x/y control

5 Morph Factor

6 Level meter

7 Frequency

8 Band Pass (12, 24 dB per decade)

9 Low Pass (6, 12, 18, 24 dB per decade)

Eliminates low-frequency signal components. Several filter slopes are available.

Lets all frequencies pass, except those in the stop band. Several filter slopes are available.

Changes the resonance value of the filters.

Adjusts the Morph Factor and the Frequency parameters simultaneously.

Lets you mix the output between the two selected filters.

Shows the output level, giving you an indication of how the filtering affects the overall level of the edited event.

Adjusts the cutoff frequency of the filters.

Allows signals falling within a certain frequency range to pass through. Several filter slopes are available.

Eliminates high-frequency signal components. Several filter slopes are available.

PostFilter

This effect allows quick and easy filtering of unwanted frequencies, creating room for the important sounds in your mix.

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Included Effect Plug-ins Filter Plug-ins

The PostFilter plug-in combines a low-cut filter, a notch filter, and a high-cut filter. You can make settings by dragging the curve points in the graphical display, or by adjusting the controls below the display section.

Level meter

Low Cut Freq (20 Hz to 1 kHz, or Off)

Low Cut Slope

Shows the output level, giving you an indication of how the filtering affects the overall level of the edited audio.

Allows you to eliminate low-frequency noise. The filter is inactive if the curve point is located all the way to the left. You can set the frequency either in Hz or as a note value. If you enter a note value, the frequency is automatically changed to Hz. For example, a note value of A3 sets the frequency to 440 Hz. When you enter a note value, you can also enter a cent offset. For example, enter A5 -23 or C4 +49.

NOTE

Ensure that you enter a space between the note and the cent offset. Only in this case, the cent offsets are taken into account.

Allows you to choose a slope value for the low-cut filter.

Low Cut Preview

Use this button between the Low Cut Freq button and the graphical display to switch the filter to a complementary high-cut filter. This deactivates any other filters, allowing you to listen only to the frequencies that you want to filter out.

Notch Freq

Sets the frequency of the notch filter. You can set the frequency either in Hz or as a note value. If you enter a note value, the frequency is automatically changed to Hz. For example, a note value of A3 sets the frequency to 440 Hz. When you enter a note value, you can also enter a cent offset. For example, enter A5 -23 or C4 +49.

NOTE

Ensure that you enter a space between the note and the cent offset. Only in this case, the cent offsets are taken into account.

Notch Gain

Adjusts the gain of the selected frequency. Use positive values to identify the frequencies that you want to filter out.

Notch Gain Invert

This button inverts the gain value of the notch filter. Use this button to filter out unwanted noise. When looking for the frequency to omit, it sometimes helps to boost it first (set the notch filter to positive gain). After you have found frequency of the noise, you can use the Invert button to cancel it out.

Notch Q-Factor

Sets the width of the notch filter.

Notch Preview

Use the Preview button between the notch filter buttons and the graphical display to create a band-pass filter with the peak filter's frequency and Q. This deactivates any other filters, allowing you to listen only to the frequencies you want to filter out.

Notches buttons (1, 2, 4, 8)

These buttons add additional notch filters to filter out harmonics.

Included Effect Plug-ins Filter Plug-ins

High Cut Freq (3 Hz to 20 kHz, or Off)

High Cut Slope

High Cut Preview

This high-cut filter allows you to remove high-frequency noise. The filter is inactive if the curve point is located all the way to the right. You can set the frequency either in Hz or as a note value. If you enter a note value, the frequency is automatically changed to Hz. For example, a note value of A3 sets the frequency to 440 Hz. When you enter a note value, you can also enter a cent offset. For example, enter A5 -23 or C4 +49.

NOTE

Ensure that you enter a space between the note and the cent offset. Only in this case, the cent offsets are taken into account.

Allows you to choose a slope value for the high-cut filter.

This button between the High Cut Freq button and the graphical display allows you to switch the filter to a complementary low-cut filter. This deactivates any other filters, allowing you to listen only to the frequencies you want to filter out.

StepFilter

This plug-in is a pattern-controlled multimode filter that can create rhythmic, pulsating filter effects.

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General Operation

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

The horizontal axis shows the pattern steps 1 to 16 from left to right, and the vertical axis determines the (relative) filter cutoff frequency and resonance settings. The higher up on the vertical axis a step value is entered, the higher the relative filter cutoff frequency or filter resonance setting.

By starting playback and editing the patterns for the cutoff and resonance parameters, you can hear how your filter patterns affect the sound source connected to StepFilter.

Included Effect Plug-ins Filter Plug-ins

Setting Step Values

● To enter a step, click in the pattern grid windows.

● Individual step entries can be dragged up or down the vertical axis, or directly set by

● Change the value for a step by dragging it up or down.

● Draw in a curve by clicking and dragging in the display.

Selecting New Patterns

● Patterns are saved with the project, and up to 8 different cutoff and resonance patterns

● Use the Pattern Select knob below the Resonance grid to select a new pattern. New

StepFilter Parameters

Base Cutoff

clicking in an empty grid box. By click-dragging left or right, consecutive step entries are set at the pointer position.

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

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

Sets the base filter cutoff frequency. Values set in the Cutoff grid are relative to the

Base Cutoff value.

Base Resonance

Sets the base filter resonance. Values set in the Resonance grid are relative to the Base Resonance value.

NOTE

Very high Base Resonance settings can produce loud ringing effects at certain frequencies.

Glide

Applies glide between the pattern steps, causing values to change more smoothly.

Filter mode

Use this slider to select a filter mode: low-pass, band-pass, or high-pass (from left to right).

Sync

If the Sync button to the right of the Sync pop-up menu is activated (yellow), the pattern playback is synchronized to the project tempo.

Use the pop-up menu to set the pattern beat resolution, that is, the note values the pattern plays in relation to the tempo (1/1 to 1/32, straight, triplet, or dotted).

Output

Sets the output level.

Mix

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

Creating Variations for StepFilter Patterns

You can copy a pattern of the StepFilter to another pattern slot. This is useful for creating variations on a pattern of this plug-in.

PROCEDURE

1. Select the pattern that you want to copy.

Included Effect Plug-ins Filter Plug-ins

2. Click the Copy button.

3. Select another pattern slot.

4. Click the Paste button.

RESULT

The pattern is copied to the new slot, and can now be edited to create variations.

ToneBooster

ToneBooster is a filter that allows you to raise the gain in a selected frequency range. It is particularly useful if it is inserted before AmpSimulator in the plug-in chain, greatly enhancing the tonal varieties available.

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Tone

Sets the center filter frequency.

Gain

Adjusts the gain of the selected frequency range by up to 24 dB.

Width

Sets the resonance of the filter.

Mode selector

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

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WahWah

RELATED LINKS

AmpSimulator on page 9

This plug-in is a variable slope band-pass filter that can be auto-controlled by a side-chain signal (if supported) or via MIDI modeling the well-known analog pedal effect.

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Side-chain support

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Included Effect Plug-ins Filter Plug-ins

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.

WahWah Parameters

Pedal

Pedal Control (MIDI)

Freq Lo/Hi

Width Lo/Hi

Controls the filter frequency sweep.

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

Set the frequency of the filter for the Lo and Hi pedal positions.

Set the width (resonance) of the filter for the Lo and Hi pedal positions.

Gain Lo/Hi

Set the gain of the filter for the Lo and Hi pedal positions.

Filter Slope selector

Allows you to choose between two filter slope values: 6 dB or 12 dB.

NOTE

If side-chaining is supported, the Pedal parameter can also be controlled from another signal source via the side-chain input. The louder the signal, the more the filter frequency is raised so that the plug-in acts as an auto-wah effect. For a description of how to set up side-chain routing, see the Operation Manual.

MIDI Control

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

If WahWah is used 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.

Included Effect Plug-ins Mastering Plug-ins

Mastering Plug-ins

UV22HR

This is an advanced version of Apogee's renowned UV22 dithering algorithm, capable of dithering to 8, 16, 20, or 24 bits.

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8, 16, 20, 24 bit

These buttons allow you to select the intended bit resolution for the final audio. As when using the internal dithering, it is important to set this to the correct resolution.

Applies a normal dither gain.

Applies a lower level of dither noise.

Auto black

If this option is activated, the dither noise is gated during silent passages.

IMPORTANT

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

Modulation Plug-ins

AutoPan

This auto-pan effect provides several parameters to modulate the left/right stereo position. You can use presets or create individual curves for the modulation waveform. The plug-in also allows for chopping effects by linking the modulation of left and right channel.

Included with X X X X X X

Side-chain support

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NOTE

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

Waveform display

Shows the shape of the modulation waveform and allows you to manually adjust the shape of the waveform. To draw an individual curve, click a node and move the mouse. To draw a straight line, Shift-click a node and move the mouse.

Waveform presets

Allows you to select presets for the modulation waveform.

● Sine creates a smooth sweep.

● Triangle creates a ramp, that is, a linear movement from full right to full left

and back.

● Pulse creates an instant jump to full right, then to full left, and then back to

center.

● Random One Shot creates a random curve. Click this button again to create a

new random curve.

● Random Continuous automatically creates a new random curve after each

period.

Phase

Sets the offset for the starting point of the curve. If multiple AutoPan plug-ins are used on different tracks, for example, different offset settings for each track allow for a more organic overall sound.

Factor

If Sync is activated, this parameter multiplies the sync rate by the selected factor. This allows you to create very slow movements in panorama.

Included Effect Plug-ins Modulation Plug-ins

Rate

Sync

Link

Width

Sets the auto-pan speed and shows the movement within the panorama. If Sync is deactivated, the speed is set in Hertz. If Sync is activated, you can set the speed in tempo values.

Activates/Deactivates tempo sync.

If this button is activated, left and right channel are modulated simultaneously. This results in a chopping effect instead of auto-panning.

In this mode, Width sets the intensity of the volume modulation.

Sets the amount of deflection to the left and right side of the stereo panorama. If Link is activated, this parameter sets the intensity of the volume modulation.

NOTE

If side-chaining is supported, the Width parameter can also be controlled from another signal source via the side-chain input. For a description of how to set up side-chain routing, see the Operation Manual.

Chopper

Smooth

Allows you to smooth the transition between individual steps of the panorama curve.

This effect allows you to create a tremolo with or without an additional panning effect.

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Waveform

Allows you to select the modulation waveform.

Depth

Sets the intensity of the effect. This can also be set by clicking and dragging in the graphical display.

Sync

The button above the Speed knob activates/deactivates tempo sync.

Included Effect Plug-ins Modulation Plug-ins

Speed

Mono

Mix

Chorus

This plug-in is a single-stage chorus effect. It works by doubling the audio that is sent into it with a slightly detuned version.

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 tremolo speed can be set freely with the Speed knob.

If this option is activated, Chopper acts as a tremolo effect only. If this option is deactivated, the modulation waveforms of the left and the right channel are phaseshifted, creating an additional panning effect.

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Side-chain support

Rate

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

Sync

Activates/Deactivates tempo sync.

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Width

Sets the depth of the chorus effect. Higher settings produce a more pronounced effect.

Spatial

Sets the stereo width of the effect. Turn clockwise for a wider stereo effect.

Included Effect Plug-ins Modulation Plug-ins

Mix

Waveform Shape selector

Delay

Filter Lo/Hi

NOTE

If side-chaining is supported, the modulation can also be controlled from another signal source via the side-chain input. If the side-chain signal exceeds the threshold, the modulation is controlled by the side-chain signal’s envelope. For a description of how to set up side-chain routing, see the Operation Manual.

Allows you to select the modulation waveform, altering the character of the chorus sweep. A sine and a triangle waveform are available.

Affects the frequency range of the modulation sweep by adjusting the initial delay time.

Allow you to roll off low and high frequencies of the effect signal.

Cloner

This plug-in adds up to 4 detuned and delayed voices to the signal, for rich modulation and chorus effects.

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Voices

Sets the number of voices (up to 4). For each voice, a Detune and a Delay slider are available in the right half of the panel.

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Spatial

Spreads the voices across the stereo spectrum. Turn clockwise for a deeper stereo effect.

Mix

Included Effect Plug-ins Modulation Plug-ins

Output (-12 to 12 dB)

Detune slider (1 to 4)

Delay slider (1 to 4)

Natural

Detune – Humanize

Static Detune

Delay

Sets the output gain.

Controls the relative detune amount for each voice. Positive and negative values can be set. A value of zero means no detune for that voice.

Controls the relative delay amount for each voice. A value of zero means no delay for that voice.

Changes the pitch algorithm.

Controls the amount of detune variation if Static Detune is deactivated. With Humanize, the detune is continuously modulated for a more natural effect.

Activate this button to use a static detune amount.

Governs the overall depth of the delay for all voices. If set to zero, no delay takes place regardless of the Delay slider settings.

Flanger

Delay – Humanize

Controls the amount of delay variation if Static Delay is deactivated. With Humanize, the delay is continuously modulated for a more natural effect.

Static Delay

Activate this button to use a static delay amount.

This is a classic flanger effect with added stereo enhancement.

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Included Effect Plug-ins Modulation Plug-ins

Rate

Sync

Range Lo/Hi

Feedback

Spatial

Mix

If tempo sync is activated, this is where you specify the base note value for synchronizing the flanger sweep to the tempo of the host application (1/1 to 1/32, straight, triplet, or dotted).

If tempo sync is deactivated, the sweep rate can be set freely with the Rate knob.

Activates/Deactivates tempo sync.

Set the frequency boundaries for the flanger sweep.

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

Sets the stereo width of the effect. Turn clockwise for a wider stereo effect.

Metalizer

Waveform Shape selector

Allows you to select the modulation waveform, altering the character of the flanger sweep. A sine and a triangle waveform are available.

Delay

Affects the frequency range of the modulation sweep by adjusting the initial delay time.

Manual

If this option is activated, the flanger sweep is static, that is, no modulation takes place.

If the Manual button is deactivated, a knob is available, allowing you to change the sweep position manually.

Filter Lo/Hi

Allow you to roll off low and high frequencies of the effect signal.

NOTE

This plug-in feeds the audio signal through a variable frequency filter, with tempo sync or time modulation and feedback control.

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Included Effect Plug-ins Modulation Plug-ins

Feedback

Sharpness

Tone

Determines the character of the metal effect. Higher settings produce a more metallic sound.

Governs the character of the filter effect. The higher the value, the narrower the affected frequency area, producing a sharper sound and a more pronounced effect.

Governs the feedback frequency. The effect of this is more noticeable with high

Feedback settings.

Activates/Deactivates filter modulation. If it is deactivated, Metalizer works as a static filter.

Mono

Switches the output to mono.

Speed

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

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

Sync

Activates/Deactivates tempo sync.

Output

Sets the output level.

Mix

Phaser

This plug-in produces the well-known swooshing phasing effect with additional stereo enhancement.

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Included Effect Plug-ins Modulation Plug-ins

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Elements

Side-chain support

Rate

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

If tempo sync is deactivated, the sweep rate can be set freely with the Rate knob.

Sync

Activates/Deactivates tempo sync.

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Width

Sets the intensity of the modulation effect between higher and lower frequencies.

Feedback

Determines the character of the phaser effect. Higher settings produce a more pronounced effect.

Spatial

If you are using multi-channel audio, the Spatial parameter creates a 3-dimensional impression by delaying modulation in each channel.

Mix

Manual

If this option is activated, the flanger sweep is static, that is, no modulation takes place.

If the Manual button is deactivated, a knob is available, allowing you to change the sweep position manually.

Filter Lo/Hi

Allow you to roll off low and high frequencies of the effect signal.

NOTE

Included Effect Plug-ins Modulation Plug-ins

RingModulator

RingModulator can produce complex, bell-like enharmonic sounds.

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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.

RingModulator has a built-in oscillator that is multiplied with the input signal to produce the effect.

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Oscillator

LFO Amount

Controls how much the oscillator frequency is affected by the LFO.

Env. Amount

Controls how much the oscillator frequency is affected by the envelope that is triggered by the input signal. Left of center, a loud input signal decreases the oscillator pitch, whereas right of center the oscillator pitch increases if it is fed a loud input.

Waveform buttons

Allow you to select the oscillator waveform: square, sine, saw, or triangle.

Range slider

Determines the frequency range of the oscillator in Hz.

Frequency

Sets the oscillator frequency ± 2 octaves within the selected range.

Roll-Off

Attenuates high frequencies in the oscillator waveform, to soften the overall sound. This is best used with harmonically rich waveforms (square or saw, for example).

LFO

Speed

Sets the LFO speed.

Included Effect Plug-ins Modulation Plug-ins

Env. Amount

Waveform

Invert Stereo

Envelope Generator

The Envelope Generator section controls how the input signal is converted to envelope data, which can then be used to control oscillator pitch and LFO speed.

Attack

Decay

Controls how much the input signal level – via the envelope generator – affects the LFO speed. With negative values, a loud input signal slows down the LFO, whereas positive values speed it up at loud input signals.

Allows you to select the LFO waveform: square, sine, saw, or triangle.

Inverts the LFO waveform for the right channel of the oscillator, which produces a wider stereo effect for the modulation.

Controls how fast the envelope output level rises in response to a rising input signal.

Controls how fast the envelope output level falls in response to a falling input signal.

Rotary

Lock L<R

If this button is activated, the L and R input signals are merged, and produce the same envelope output level for both oscillator channels. If the button is deactivated, each channel has its own envelope that affects the two channels of the oscillator independently.

Final Settings

Output

Sets the output level.

Mix

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

This modulation effect simulates the classic effect of a rotating speaker.

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A rotary speaker cabinet features speakers rotating at variable speeds to produce a swirling chorus effect, commonly used with organs.

Included Effect Plug-ins Modulation Plug-ins

Speed

Speed selector (stop/slow/fast)

Speed Change Mode

Speed Mod

Speed Mod Control (MIDI)

Additional settings

Allows you to control the speed of the Rotary in three steps.

If this is set to the left, the speed selector settings are taken into account. If this is set to the right, you can modulate the speed with the Speed Mod knob and/or with a MIDI controller that you can select on the Speed Mod Control (MIDI) pop-up menu.

If the Speed Change Mode setting is set to the right side, this knob allows you to modulate the rotary speed.

This pop-up menu allows you to select the MIDI controller that controls the Rotary speed. If you do not want to use MIDI realtime control, set this to Automation. If you select Pitchbend as MIDI controller, the speed changes with an up or down flick of the bender. If other MIDI controllers are used, the speed changes at MIDI value 64.

Overdrive

Applies a soft overdrive or distortion.

CrossOver

Sets the crossover frequency (200 to 3000 Hz) between the low and high frequency loudspeakers.

Horn

Slow

Allows for a fine adjustment of the high rotor slow speed.

Fast

Allows for a fine adjustment of the high rotor fast speed.

Accel.

Allows for a fine adjustment of the high rotor acceleration time.

Amp Mod

Controls the high rotor amplitude modulation.

Freq Mod

Controls the high rotor frequency modulation.

Bass

Slow

Allows for a fine adjustment of the low rotor slow speed.

Fast

Allows for a fine adjustment of the low rotor fast speed.

Accel.

Allows for a fine adjustment of the low rotor acceleration time.

Amp Mod

Adjusts the modulation depth of the amplitude.

Included Effect Plug-ins Modulation Plug-ins

Level

Microphones

Phase

Angle

Distance

Final Settings

Output

Mix

Adjusts the overall bass level.

Adjusts the phasing amount in the sound of the high rotor.

Sets the simulated microphone angle. 0 = mono, 180 = a mic on each side.

Sets the simulated microphone distance from the speaker in inches.

Sets the output level.

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

Directing MIDI to the Rotary

For realtime MIDI control of the speed parameter, MIDI must be directed to the Rotary.

● If Rotary is used as insert effect (for an audio track or an FX channel), it is available on

StudioChorus

StudioChorus is a two-stage chorus effect that adds short delays to the signal and modulates the pitch of the delayed signals to produce a doubling effect. The two separate stages of chorus modulation are independent and are processed serially (cascaded).

Included with – – – – X X

Side-chain support

the Output Routing pop-up menu for MIDI tracks. If Rotary is selected on the Output Routing pop-up menu, MIDI is directed to the plug-in from the selected track.

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Rate

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

Included Effect Plug-ins Modulation Plug-ins

Sync

Width

Spatial

Mix

Waveform Shape selector

Delay

Activates/Deactivates tempo sync.

Sets the depth of the chorus effect. Higher settings produce a more pronounced effect.

Sets the stereo width of the effect. Turn clockwise for a wider stereo effect.

Allows you to select the modulation waveform, altering the character of the chorus sweep. A sine and a triangle waveform are available.

Affects the frequency range of the modulation sweep by adjusting the initial delay time.

Filter Lo/Hi

NOTE

Tranceformer

In this ring modulator effect, the incoming audio is ring modulated by an internal, variable frequency oscillator, producing new harmonics. A second oscillator can be used to modulate the frequency of the first oscillator, in sync with the Song tempo if needed.

Included with – X X X X X

Allow you to roll off low and high frequencies of the effect signal.

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Waveform

These buttons allow you to select a pitch modulation waveform.

Included Effect Plug-ins Modulation Plug-ins

Tone

Depth

NOTE

Clicking and dragging in the display allows you to adjust Tone and Depth at the same time.

Speed

Sync

Sets the frequency (pitch) of the modulating oscillator.

Sets the intensity of the pitch modulation.

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

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

The button above the Speed knob activates/deactivates tempo sync.

Activates/Deactivates the modulation of the pitch parameter.

Tremolo

Mono

Switches the output to mono.

Output

Sets the output level.

Mix

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

Tremolo produces amplitude modulation.

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Rate

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.

Included Effect Plug-ins Modulation Plug-ins

Sync

Depth

Spatial

Output

NOTE

Vibrato

Activates/Deactivates tempo sync.

Governs the depth of the amplitude modulation.

Adds a stereo effect to the modulation.

Sets the output level.

This effect creates pitch modulation.

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Side-chain support

Rate

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.

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Sync

Activates/Deactivates tempo sync.

Depth

Sets the intensity of the pitch modulation.

Spatial

Adds a stereo effect to the modulation.

Included Effect Plug-ins Network Plug-ins

NOTE

Network Plug-ins

VST Connect CUE Mix

Included with – – – – X X

This plug-in is described in detail in the separate PDF document VSTConnectSE.

VST Connect SE

Included with – – – – X X

This plug-in is described in detail in the separate PDF document VSTConnectSE.

Other Plug-ins

LoopMashFX

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

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Elements

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Included Effect Plug-ins Other Plug-ins

Quantize Note

Sets the note value on which the quantize grid of the effects is based.

Performance Controls

By clicking these buttons during playback, you can apply effects to your overall performance.

An effect is applied as long as you keep the button pressed.

NOTE

The effects can be automated. The automation of effect parameters is described in the

Operation Manual.

Backspin

Simulates a turntable backspin.

Reverse

Plays the slice in reverse.

Tapestart

Simulates a tapestart, that is, speeds the slice up.

Scratch

Plays the slice as if scratched.

Included Effect Plug-ins Other Plug-ins

Slowdown

Tapestop 1

Tapestop 2

Stutter

Slur

Applies a slowdown.

Simulates a tapestop, that is, slows the slice down, first lightly then abruptly.

Simulates a tapestop, that is, slows the slice down, smoothly.

Plays only the initial portion of a slice and repeats it 2, 3, 4, 6, or 8 times during one slice length.

Stretches the slice over 2 or 4 slice lengths.

Cycle

Sets up a short cycle over 4, 2, or 1 slice. This short cycle is always set up within the loop range that is set in the ruler. Setting up a cycle over 1 slice means that this slice is repeated until you release the button.

Staccato

Shortens the slice.

Mute

Mutes the slice.

Triggering the Performance Controls with Your MIDI Keyboard

You can trigger the performance controls with your MIDI keyboard starting from C3 upwards. You can also use the virtual keyboard for triggering the performance controls (for information about the virtual keyboard see the Operation Manual).

Controlling LoopMashFX with a MIDI Keyboard

PROCEDURE

1. Create an audio track and import an audio file, a drum loop, for example.

2. Insert LoopMashFX as an insert effect.

3. Play back the drum loop in a cycle.

4. Create a MIDI track.

Included Effect Plug-ins Other Plug-ins

5. On the Output Routing pop-up menu for the MIDI track, select LoopMashFX.

RESULT

You can trigger the different LoopMashFX performance effects with a MIDI keyboard.

Randomizer

Randomizer allows you to create variations of a sound. By setting specific parameter values, you can determine how much these parameters are randomized. This is helpful if you want to use an audio file, for example, the sound of a closing door, several times in your project and let it sound different every time.

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Elements

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NOTE

Cubase Artist

Cubase Pro

Nuendo

This plug-in is recommended for use in offline processing. Using it as a realtime plug-in might increase the latency.

Randomizer allows you to define the range within its parameters are allowed to change. Pitch, Impact, Color, and Timing act as metaparameters. This means that when you modify one of these metaparameters, a whole set of parameters is modified in the background.

Pitch

Sets the maximum pitch change.

This parameter allows for very basic and effective sound variations. It is especially suitable for voices and tonal sounds but can also give good results on atonal noises.

Impact

Sets the maximum variations of attack and envelope settings.

This parameter allows for variations of the onsets and transitions of sounds. Even sounds without hard attacks may get interesting variations.

Color

Sets the maximum amount of coloration.

Included Effect Plug-ins Other Plug-ins

This parameter allows you to change the tonal balance of the fundamental frequency and its harmonics. This can give good results on rich sounds, for example, squeaks and effects but also on voices.

Timing

Sets the maximum timing change.

This parameter allows you to vary the timing of sounds that have a recognizable pattern. At extreme settings, this may change the order of segments within a sound.

NOTE

Setting the above parameters to a value of 5 causes a noticeable yet natural sounding variation. Values higher than 8 alter the sound drastically.

RELATED LINKS

Creating Variations of Audio Events on page 93

Creating Variations of Audio Events

Randomizer allows you to create several variations of audio events in one go.

PREREQUISITE

In the Direct Offline Processing window, Auto Apply is activated.

NOTE

For detailed information about Direct Offline Processing, see the Operation Manual.

PROCEDURE

1. Create as many copies of the event as you need.

2. Select all event copies.

3. Select Audio> Plug-ins> Other> Randomizer.

4. In the dialog, select New Version.

NOTE

You can also make this a permanent setting in the Preferences dialog (Editing-Audio page).

5. In the Direct Offline Processing window, set the values for Pitch, Impact, Color, and Timing.

The selected events are modified on a random basis within the defined parameter values.

RESULT

You have created different sounding variations of your audio event.

AFTER COMPLETING THIS TASK

Create audio assets by using the Export Selected Events dialog and transfer them to a game audio engine, for random playback. In case of Audiokinetic Wwise, use Game Audio Connect to transfer audio assets.

NOTE

For detailed information about Game Audio Connect, see the Operation Manual.

Included Effect Plug-ins Pitch Shift Plug-ins

Pitch Shift Plug-ins

Octaver

This plug-in can generate two additional voices that track the pitch of the input signal one octave and two octaves below the original pitch. Octaver is best used with monophonic signals.

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Elements

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Direct

Sets the level balance between the dry signal and the wet signal. A value of 0 means that 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 generated signal one octave below the original pitch. A setting of 0 means that the voice is muted.

Octave 2

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

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Cubase Pro

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Pitch Correct

Pitch Correct automatically detects, adjusts, and fixes slight pitch and intonation inconsistencies in monophonic vocal and instrumental performances in realtime. The advanced algorithms preserve the formants of the original sound and allow for natural sounding pitch correction without the typical Mickey Mouse effect.

Included with – – X X X X

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Elements

Cubase Artist

Cubase Pro

Nuendo

Included Effect Plug-ins Pitch Shift Plug-ins

You can use Pitch Correct creatively. You can create backing vocals, for example, by modifying the lead vocals or vocoder sounds by using extreme values. You can use an external MIDI controller, a MIDI track, or the virtual keyboard to play a note or a scale of target pitches that determine the current scale notes to which the audio is shifted. This allows you to change your audio in a very quick and easy way, which is extremely useful for live performances. In the keyboard display, the original audio is displayed in blue while the changes are displayed in orange.

Correction

Speed

Determines the smoothness of the pitch change. Higher values cause the pitch shift to occur immediately. 100 is a very drastic setting that is designed mainly for special effects.

Tolerance

Determines the sensitivity of analysis. A low Tolerance value lets Pitch Correct find pitch changes quickly. If the Tolerance value is high, pitch variations in the audio (for example, vibrato) are not immediately interpreted as note changes.

Transpose

With this parameter you can adjust, or retune, the pitch of the incoming audio in semitone steps. A value of zero means that the signal is not transposed.

Scale source

Internal

If you choose the Internal option from the Scale Source pop-up menu, you can use the pop-up menu next to it to decide to which scale the source audio is adapted.

● Chromatic: The audio is pitched to the closest semitone.

● Major/Minor: The audio is pitched to the major/minor scale specified on the

pop-up menu to the right. This is reflected on the keyboard display.

● Custom: The audio is pitched to the notes that you specify by clicking keys on

the keyboard display. To reset the keyboard, click the orange line below the display.

Included Effect Plug-ins Pitch Shift Plug-ins

External MIDI Scale

External MIDI Note

Chord Track – Chords

Select this option if you want the audio to be shifted to a scale of target pitches, using an external MIDI controller, the virtual keyboard, or a MIDI track.

NOTE

You have to assign the audio track as the output of your MIDI track and the Speed parameter has to be set to a value other than Off.

Select this option if you want the audio to be shifted to a target note, using an external MIDI controller, the Virtual Keyboard or a MIDI track.

NOTE

You have to assign the audio track as the output of your MIDI track and the Speed parameter has to be set to a value other than Off.

Select this option if you want the audio to be shifted to target chords, using the chord information from the Chord track.

NOTE

You have to add a MIDI track in addition to the Chord track and assign Pitch Correct as output of the MIDI track.

Chord Track – Scale

Select this option if you want the audio to be shifted to a scale of target pitches, using the scale information from the Chord track.

NOTE

You have to add a MIDI track in addition to the Chord track and assign Pitch Correct as output of the MIDI track.

Formant

Shift

Changes the natural timbre, that is, the characteristic frequency components of the source audio.

Optimize (General, Male, Female)

Allows you to specify the sound characteristics of the sound sources. General is the default setting, Male is designed for low pitches and Female for high pitches.

Preservation (On/Off)

If this parameter is set to Off, formants are raised and lowered with the pitch, provoking strange vocal effects. Higher pitch correction values result in Mickey Mouse effects, lower pitch correction values in Monster sounds. If this parameter is set to On, the formants are kept, maintaining the character of the audio.

Master Tuning

Detunes the output signal.

Included Effect Plug-ins Reverb Plug-ins

PitchDriver

This effect allows for sound design in postproduction. It can be used for extreme up or down pitching of voices or effect samples (for example, to create eerie monster sounds). Shifting the pitch with this plug-in does not keep the formants.

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Elements

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Detune

Lets you detune the pitch of the incoming audio.

Mix

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

Spatial

Creates an ambience effect. It introduces a light pitch offset to the incoming signal. Different offset values are used for the individual input channels in order to create a panorama effect.

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Cubase Pro

Nuendo

NOTE

The created panorama effect can be unstable. For a stable panorama, deactivate the

Spatial parameter. Then, the incoming signals are summed up to a mono signal.

Output

Sets the output level.

To avoid hearing artifacts, it is recommended to set the ASIO buffer for your audio card to at least 128 samples. The buffer size can be set on the control panel for the card (opened via the

Device Setup dialog).

Reverb Plug-ins

REVelation

This effect produces a high-quality algorithmic reverb with early reflections and reverb tail.

Included with – – – X X X

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Elements

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Cubase Nuendo

Included Effect Plug-ins Reverb Plug-ins

The early reflections are responsible for the spatial impression in the first milliseconds of the reverb. For emulating different rooms, you can choose between different early reflections patterns and adjust their size. The reverb tail, or late reverberation, offers parameters for controlling the room size and the reverb time. You can adjust the reverb time individually in 3 frequency bands.

Pre-Delay

Determines how much time passes before the reverb is applied. This allows you to simulate larger rooms by increasing the time it takes for the first reflections to reach the listener.

Early Reflections

Here, you select an early reflections pattern. The early reflections pattern contains the most important delays that deliver the key information for the spatial impression of the room.

ER/Tail Mix

Sets the level balance between the early reflections and the reverb tail. At a setting of 50 %, early reflections and tail have the same volume. Settings below 50 % raise the early reflections and lower the tail, as a result the sound source moves towards the front of the room. Settings above 50 % raise the tail and lower the early reflections, as a result the sound source moves towards the back of the room.

Size

Adjusts the length of the early reflections pattern. At a setting of 100 %, the pattern is applied with its original length and the room sounds the most natural. At settings below 100 %, the early reflections pattern is compressed and the room is perceived smaller.

Low Cut

Attenuates the low frequencies of the early reflections. The higher this value, the less low frequencies are present in the early reflections.

High Cut

Attenuates the high frequencies of the early reflections. The lower this value, the less high frequencies the early reflections will have.

Included Effect Plug-ins Reverb Plug-ins

Delay

Room Size

Main Time

High Time

Low Time

Delays the onset of the reverb tail.

Controls the dimensions of the simulated room. At a setting of 100 %, the dimensions correspond to a cathedral or a large concert hall. At a setting of 50 %, the dimensions correspond to a medium-sized room or studio. Settings below 50 % simulate the dimensions of small rooms or a booth.

Controls the overall reverb time of the tail. The higher this value, the longer the reverb tail will decay. At a setting of 100 %, the reverb time is infinitely long. The Main Time parameter also represents the mid band of the reverb tail.

Controls the reverb time for the high frequencies of the reverb tail. With positive values, the decay time of the high frequencies is longer. With negative values, it is shorter. Frequencies are affected depending on the High Freq parameter.

Controls the reverb time for the low frequencies of the reverb tail. For positive values, low frequencies decay longer and vice versa. Frequencies will be affected depending on the Low Freq parameter.

High Freq

Sets the cross-over frequency between the mid and the high band of the reverb tail. You can offset the reverb time for frequencies above this value from the main reverb time with the High Time parameter.

Low Freq

Sets the cross-over frequency between the low and the mid band of the reverb tail. The reverb time for frequencies below this value can be offset from the main reverb time with the Low Time parameter.

Shape

Controls the attack of the reverb tail. At a setting of 0 %, the attack is more immediate, which is a good setting for drums. The higher this value, the less immediate the attack.

Density

Adjusts the echo density of the reverb tail. At a setting of 100 %, single reflections from walls cannot be heard. The lower this value, the more single reflections can be heard.

High Cut

Attenuates the high frequencies of the reverb tail. The lower this value, the less high frequencies the reverb tail will have.

Width

Adjusts the output of the reverb signal between mono and stereo. At a setting of 0 %, the output of the reverb is mono, at 100 % it is stereo.

Mix

Lock

Activate this button (padlock symbol) next to the Mix parameter to lock the dry/wet balance while browsing through the available presets.

Included Effect Plug-ins Reverb Plug-ins

Modulation

Modulation allows you to enrich the reverb tail through subtle pitch modulations.

Modulation Enable

Modulation Rate

Modulation Depth

REVerence

REVerence is a convolution tool that allows you to apply room characteristics (reverb) to the audio.

Activates/Deactivates the chorusing effect.

Specifies the frequency of the pitch modulation.

Sets the intensity of the pitch modulation.

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Elements

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Cubase Artist

Cubase Pro

Nuendo

This is done by processing the audio signal according to an impulse response – a recording of an impulse in a room or another location that recreates the characteristics of the room. As a result, the processed audio sounds as if it were played in the same location. Included with the plug-in are top quality samples of real spaces to create reverberation.

NOTE

REVerence can be very demanding in terms of RAM. This is because the impulse responses that you load into the program slots are preloaded into RAM to guarantee artifact-free switching between programs. Therefore, you should always load only those programs that you need for a given task.

100

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

Specifications and Main Features

Frequently Asked Questions

User Manual

Table of Contents

Delay Plug-ins

ModMachine

Included Effect Plug-ins

MonoDelay

PingPongDelay

StereoDelay

Distortion Plug-ins

AmpSimulator

BitCrusher

DaTube

Distortion

Grungelizer

Magneto II

Quadrafuzz v2

SoftClipper

VST Amp Rack

VST Bass Amp

Dynamics Plug-ins

Brickwall Limiter

Compressor

DeEsser

EnvelopeShaper

Expander

Gate

Limiter

Maximizer

MIDI Gate

Setting Up MIDI Gate

Applying MIDI Gate

MultibandCompressor

MultibandEnvelopeShaper

MultibandExpander

Tube Compressor

VintageCompressor

VSTDynamics

EQ Plug-ins

CurveEQ

DJ-EQ

GEQ-10/GEQ-30

StudioEQ

Making Settings

Using Modifier Keys

Frequency

Global Settings

Filter Plug-ins

DualFilter

MorphFilter

PostFilter

StepFilter

Creating Variations for StepFilter Patterns

ToneBooster

WahWah

Mastering Plug-ins

UV22HR

Modulation Plug-ins

AutoPan

Chopper

Chorus

Cloner

Flanger

Metalizer

Phaser

RingModulator

Rotary

StudioChorus

Tranceformer

Tremolo

Vibrato

Network Plug-ins

VST Connect CUE Mix

VST Connect SE

Other Plug-ins

Randomizer

Creating Variations of Audio Events

Pitch Shift Plug-ins