Manual by Anders Nordmark
Quality Control: C. Bachmann, H. Bischoff, S. Pfeifer, C. Schomburg
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.
All product and company names are ™ or ® trademarks of their respective owners.
Windows XP is a trademark of Microsoft Corporation. The Mac logo is a trademark
used under license. Macintosh and Power Macintosh are registered trademarks.
This chapter contains descriptions of the included plug-in effects and
their parameters.
In Cubase SX/SL, the plug-in effects are arranged in a number of different categories. This chapter is arranged in the same fashion, with
the plug-ins listed in separate sections for each effect category.
CUBASE SX/SL
1 – 6The included effect plug-ins
Delay plug-ins
This section contains descriptions of the plug-ins in the “Delay”
category.
DoubleDelay
This effect provides two separate delays that can be either tempo
based or use freely specified delay time settings. Cubase SX/SL automatically provides the plug-in with the tempo currently used in the
project.
The parameters are as follows:
ParameterDescription
MixSets the level balance between the dry signal and the effect. If Double-
Delay is used as a send effect, this should be set to maximum (100%)
as you can control the dry/effect balance with the send.
Tempo sync
on/off
Delay Time 1This is where you specify the base note value for the delay if tempo
Delay Time 2As above.
FeedbackThis sets the number of repeats for both delays.
Tempo Sync 1 The note value multiplier (x1 to x10) for the first delay unit.
The buttons above the two Delay Time knobs are used to turn tempo
sync on or off for the respective delay. If set to off the delay time can be
set freely with the Delay Time knobs, without sync to tempo.
sync is on (1/1 - 1/32, straight, triplet or dotted). If tempo sync is off, it
sets the delay time in milliseconds.
CUBASE SX/SL
The included effect plug-ins1 – 7
ParameterDescription
Tempo Sync 2 As above, but for the second delay unit.
Pan1This sets the stereo position for the first delay.
Pan2This sets the stereo position for the second delay.
You can also change parameters in the graphic display window. This
works as follows:
•
If tempo sync is on, you can set the Tempo Sync 1 parameter by dragging the light blue handle left and right.
When tempo sync is off, this sets the Delay Time 1 parameter.
•
You can set the Pan 1 parameter by dragging the light blue handle up
and down.
•
The dark blue handle works in the same way but for the corresponding second delay parameters.
CUBASE SX/SL
1 – 8The included effect plug-ins
ModDelay
This is a delay effect that can either be tempo-based or use freely specified delay time settings. The delay repeats can also be modulated.
The parameters are as follows:
Parameter Description
MixSets the level balance between the dry signal and the effect. If ModDe-
lay is used as a send effect, this should be set to maximum as you can
control the dry/effect balance with the send.
Tempo sync
on/off
FeedbackThis sets the number of repeats for the delay.
Delay TimeThis is where you specify the base note value for the delay if tempo sync
Tempo Sync
knob
DelayMod.This controls the pitch modulation rate for the delay effect.
The button above the Delay Time knob is used to turn tempo sync on or
off. If set to off the delay time can be set freely with the Delay Time knob,
without sync to tempo.
is on (1/1 - 1/32, straight, triplet or dotted). If tempo sync is off, it sets
the delay time in milliseconds.
This is the note value multiplier (x1 to x10) for the delay when tempo
sync is used.
CUBASE SX/SL
The included effect plug-ins1 – 9
Distortion plug-ins
This section contains descriptions of the plug-ins in the “Distortion”
category.
DaTube
This effect emulates the characteristic warm, lush sound of a tube
amplifier.
The parameters are as follows:
Parameter Description
DriveRegulates the pre-gain of the “amplifier”. Use high values if you want an
overdriven sound just on the verge of distortion.
BalanceThis controls the balance between the signal processed by the Drive pa-
rameter and the dry input signal. For maximum drive effect, set this to its
highest value.
OutputAdjusts the post-gain, or output level, of the “amplifier”.
CUBASE SX/SL
1 – 10The included effect plug-ins
Overdrive
Overdrive is a distortion-type effect, emulating the sound of a guitar
amplifier. A selection of factory styles is available. Note that these are
not stored parameter settings, but different basic overdrive algorithms,
with the style names indicating the basic character of each algorithm.
The parameters are as follows:
ParameterDescription
InputSets the input level.
OutputSets the output level. As overdrive generates harmonics, it increases
the level of the processed signal. You can use the Output fader to
compensate for the level increase.
Speaker
simulation
Factory Styles Select one of six presets, which can be used as they are or as a basis
BassTone control for the low frequencies.
MidTone control for the mid frequencies.
HiTone control for the high frequencies.
DriveGoverns the amount of overdrive. You can also adjust this by clicking
When this is activated, the effect simulates the sound of a speaker
cabinet.
for further “tweaking”.
and dragging in the display.
CUBASE SX/SL
The included effect plug-ins1 – 11
QuadraFuzz (Cubase SX only)
QuadraFuzz is a high-quality distortion effect divided into four frequency
bands allowing for control over the level both before and after distortion.
This high level of control can create a very wide selection of distortion
effects, ranging from subtle to extreme. The user interface consists of
two windows.
•
The main window features four Filterbank controls, the master Gain
and Output controls and a preset selector.
•
In the editor window (which is opened by clicking the “Edit” button in
the lower right corner) the main feature is a frequency band display.
This is where you set the width of the frequency bands as well as their level before distortion.
CUBASE SX/SL
1 – 12The included effect plug-ins
How does QuadraFuzz work?
Here’s a short description of the three major factors that determine how
QuadraFuzz sounds, and where you find the corresponding controls:
•The signal volume control before distortion.
You can use the Gain control on the left side of the QuadraFuzz main window to control the overall input level of the signal that is fed into the distortion stage. The signal is
split up into four frequency bands in the editor window, with adjustable width and level
controls. These control the input level before distortion.
•The distortion type, based on a selectable distortion characteristic.
•The signal volume control after distortion.
The Output control on the right side of the QuadraFuzz main window controls the
overall output level. In addition, the Filterbank controls in the same window allow you to
raise or lower the output volume of each separate frequency band that was defined in
the editor window.
CUBASE SX/SL
The included effect plug-ins1 – 13
Editing in the frequency band display
The signal is divided into four frequency bands before being passed
to the distortion stage, as explained earlier. You adjust the level and
width of these bands in the frequency band display.
The frequency band display
Two value scales as well as a number of rhomb- and diamond-shaped
handles are available.
•The diamond-shaped handles at the bottom are used to define the corner frequencies of the different frequency bands.
•By using the rhomb-shaped handles on top of each frequency band you determine its relative level before distortion.
•The horizontal value scale below the Frequency band display indicates frequency. The maximum value on this scale corresponds to half the sample rate
of the audio file used (Nyquist theorem).
•The vertical value scale to the right shows the approximate level of an edited
frequency band.
•If you click and hold on one of the handles, its current value is displayed.
Depending on the handle type, corner frequency or level is shown.
•The corner frequency handles can be moved by dragging horizontally. The
level handles can be moved by dragging them up or down.
•To reset a level handle to 0 dB, hold down the [Shift] key on your computer
keyboard and click on the handle.
•If you hold down the [Ctrl]/[Command] key and move a handle, the values will
change in smaller steps.
•The “Solo” button above the frequency band display allows you to monitor
individual frequency bands.
If Solo is activated, one of the four bands is highlighted indicating the selected band.
You select other bands by clicking on them.
CUBASE SX/SL
1 – 14The included effect plug-ins
The parameters
The following tables list all parameters available in QuadraFuzz.
The parameters in the main window are as follows:
ParameterDescription
Gain dialThis dial can be found in the lower left corner of the QudraFuzz win-
dow. You can use it to control the level of the overall input signal before distortion.
Filterbank dials:
Low/Low Mid/
High Mid/High
Presets faderThis is used to select one of the available presets. To select a new
Output dial This controls the overall output level.
Over LEDWhen lit, this indicates that the total input signal level exceeds 0 dB.
Edit buttonBy clicking on this button, located in the lower right corner of the
These dials are used to control the output level of the corresponding
frequency band after distortion. Values between +/- 12 dB can be
set for each band.
preset, click on the fader handle and drag horizontally.
This LED does not refer to the output level but solely to the input level
before distortion.
Levels above 0 dB are subject to strict limiting and cause signal clipping. As this is sometimes what you want, QuadraFuzz also offers this
option.
main window, you can open or close the editor window.
The parameters in the editor window are as follows:
ParameterDescription
Create If you click on this button, a dialog will open where you can add (and
name) a new preset to the preset set currently in memory. The presets are stored with the project – to make a preset available in other
projects you use the File pop-up menu as usual.
Delete This deletes the selected preset from the preset set currently in mem-
ory. If you click on the button, a dialog appears where you can confirm
or cancel the action.
SoloThis mutes all frequency bands except the selected band.
Shape buttonsThe available distortion characteristics (from bottom to top) create ef-
fects from a slight distortion up to a trashy hardcore sound.
Frequency band
display
Here you control the level and bandwidth for the four bands, see
above.
CUBASE SX/SL
The included effect plug-ins1 – 15
Dynamics plug-ins
This section contains descriptions of the plug-ins in the “Dynamics”
category.
SPL DeEsser (Cubase SX only)
A de-esser is used to reduce excessive sibilance, primarily for vocal recordings. Basically, it is a special type of compressor that is tuned to
be sensitive to the frequencies produced by the "s" sound, hence the
name de-esser. Close proximity microphone placement and equalizing
can lead to situations where the overall sound is just right, but there is
a problem with sibilants. Conventional compression and/or equalizing
will not easily solve this problem, but a de-esser can.
The SPL DeEsser has the following parameters:
ParameterDescription
S-ReductionControls the intensity of the de-essing effect. We recommend that
you start with a value between 4 and 7.
Level displayIndicates the dB value by which the level of the sibilant or s-frequency
is reduced. The display shows values between 0 dB (no reduction)
and minus 20 dB (the s-frequency level is lowered by 20 dB). Each
segment in the display represents a level reduction of 2 dB.
Auto Threshold See separate description below.
Male/FemaleThis sets the s-frequency and sibilant recognition to the characteristic
frequency ranges of the female or male voice. The center frequency of
the bandwidth at which the SPL DeEsser operates is located in the
7kHz range for the female voice and in the 6 kHz range for the male
voice.
CUBASE SX/SL
1 – 16The included effect plug-ins
About the Auto Threshold function
Conventional de-essing devices all have a threshold parameter. This
is used to set a threshold for the incoming signal level, above which
the device starts to process the signal. The SPL DeEsser however
has been designed for utmost ease-of-use. With Auto Threshold on
(the button lights up) it automatically and constantly readjusts the
threshold to achieve an optimum result. If you still wish to determine
for yourself at which signal level the SPL DeEsser should start to process the signal, deactivate the Auto Threshold button. The SPL
DeEsser will then use a fixed threshold.
When recording a voice, usually the de-esser's position in the signal
chain is located after the microphone pre-amp and before a compressor/limiter. This is useful, as it keeps the compressor/limiter from unnecessarily limiting the overall signal dynamics by reacting to excessive
sibilants and s-frequencies.
The Auto Threshold function keeps the processing on a constant level.
The input threshold value is automatically and constantly adjusted to
the audio input level. Even level differences of say 20dB do not have a
negative impact on the result of the processing. The input levels may
vary, but processing remains constant.
CUBASE SX/SL
The included effect plug-ins1 – 17
Dynamics
Compressor
Routing
selector
AutoGate
Limiter
Dynamics is an advanced dynamics processor. It combines three separate processors: AutoGate, Compressor and Limiter, covering a variety of dynamic processing functions. The window is divided into three
sections, containing controls and meters for each processor.
Activating the individual processors
You activate the individual processors by clicking on their labels. Activated processors have highlighted labels.
CUBASE SX/SL
1 – 18The included effect plug-ins
The AutoGate section
Gating, or noise gating, is a method of dynamic processing that silences audio signals below a certain set threshold level. As soon as
the signal level exceeds the set threshold, the gate opens to let the
signal through. AutoGate offers all the features of a standard noise
gate, plus some very useful additional features, such as auto-calibration of the threshold setting, a look-ahead predict function, and frequency selective triggering.
The available parameters are as follows:
ParameterValuesDescription
Threshold-60 - 0dB This setting determines the level where AutoGate
is activated. Signal levels above the set threshold
trigger the gate to open, and signal levels below
the set threshold will close the gate.
Attack0,1 -100 ms or
“Predict mode”
Hold0 - 1000 msThis determines how long the gate stays open af-
Release10 - 1000 ms or
“Auto”
This parameter sets the time it takes for the gate
to open after being triggered. If the Predict button is activated, it will ensure that the gate will already be open when a signal above the threshold
level is played back. AutoGate manages this by
“looking ahead” in the audio material, checking
for signals loud enough to pass the gate.
ter the signal drops below the threshold level.
This parameter sets the amount of time it takes
for the gate to close (after the set hold time). If
the “Auto” button is activated, AutoGate will find
an optimal release setting, depending on the audio program material.
CUBASE SX/SL
The included effect plug-ins1 – 19
Trigger Frequency Range
AutoGate has a feature that allows the gate to be triggered only by
signals within a specified frequency range. This is a most useful feature because it lets you filter out parts of the signal that might otherwise trigger the gate in places you don’t want it to, thus allowing more
control over the gate function. The Trigger Frequency Range function
is set using the control in the upper part of the AutoGate panel, and
the buttons located below it.
The basic operation of the Trigger Frequency Range function is as
follows:
1.
While playing back audio, click the “Listen” button.
You will now monitor the audio signal, and the gate will be bypassed.
2.
While listening, drag the two handles in the Trigger Frequency Range
display to set the frequency range you want to use to trigger the gate.
You will hear the audio being filtered as you move the handles.
•Dragging the left handle to the right will progressively cut frequencies starting
from the low end of the frequency spectrum.
•Dragging the right handle to the left will progressively cut frequencies starting
from the high end of the frequency spectrum.
The frequency range between the two
handles will be used to trigger the gate.
3.
After setting the frequency range, click the “On” button.
AutoGate will now use the selected frequency range as the trigger input.
4.
To disable the Trigger Frequency Range function, click the “Off” button.
AutoGate will now use the unfiltered audio signal as the trigger input.
CUBASE SX/SL
1 – 20The included effect plug-ins
The Calibrate function
This function, activated by using the Calibrate button located below
the Threshold knob, is used to automatically set the threshold level. It
is especially useful for material with consistent inherent background
noise, like tape hiss. This may most of the time be masked by the audio content, but becomes noticeable during silent passages.
Use it as follows:
1.
Find a part of the audio material, preferably not too short, where only
the background noise is heard.
If you can only find a short background noise section, try looping it.
2.
Play it back, and click on the Calibrate button.
The button will blink for a few seconds, and then automatically set the threshold so that
the noise will be silenced (gated) during passages where there is no other signal present.
CUBASE SX/SL
The included effect plug-ins1 – 21
The Compressor section
Compressor reduces the dynamic range of the audio, making softer
sounds louder or louder sounds softer, or both. Compressor functions
like a standard compressor with separate controls for threshold, ratio,
attack, release and make-up gain parameters. Compressor features a
separate display that graphically illustrates the compressor curve
shaped according to the Threshold, Ratio and MakeUp Gain parameter settings. Compressor also features a Gain Reduction meter that
shows the amount of gain reduction in dB, and a program dependent
Auto feature for the Release parameter.
The available parameters work as follows:
ParameterValuesDescription
Threshold-60 - 0dBThis setting determines the level where Compressor
“kicks in”. Signal levels above the set threshold are affected, but signal levels below are not processed.
Ratio1:1 - 8:1Ratio determines the amount of gain reduction applied
to signals over the set threshold. A ratio of 3:1 means
that for every 3 dB the input level increases, the output
level will increase by only 1 dB.
Attack0.1-100 msThis determines how fast Compressor will respond to
signals above the set threshold. If the attack time is
long, more of the early part of the signal (attack) will
pass through unprocessed.
Release10-1000ms or
“Auto mode”
MakeUp Gain 0 - 24dBThis parameter is used to compensate for output gain
Compressor
Mode
RMS/PeakRMS mode operates using the average power of the
Sets the amount of time it takes for the gain to return to
its original level when the signal drops below the
Threshold level. If the “Auto” button is activated, Compressor will automatically find an optimal release setting that varies depending on the audio material.
loss, caused by compression.
audio signal as a basis, whereas Peak mode operates
more on peak levels. As a general guideline, RMS
mode works better on material with few transients
such as vocals, and Peak mode better for percussive
material, with a lot of transient peaks.
CUBASE SX/SL
1 – 22The included effect plug-ins
The Limiter section
Limiter is designed to ensure that the output level never exceeds a
certain set output level, to avoid clipping in following devices. Conventional limiters usually require very accurate setting up of the attack
and release parameters, to totally avoid the possibility of the output
level going beyond the set threshold level. Limiter adjusts and optimizes these parameters automatically, according to the audio material. You can also adjust the Release parameter manually.
The available parameters are the following:
ParameterValuesDescription
Threshold-12 - 0dBThis setting determines the maximum output level.
Signal levels above the set threshold are affected,
but signal levels below are left unaffected.
Release10-1000ms or
“Auto mode”
This parameter sets the amount of time it takes for
the gain to return to its original level when the signal drops below the threshold level. If the “Auto”
button is activated, Limiter will automatically find an
optimal release setting that varies depending on
the audio material.
The Routing section
In the Routing section 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. Beside each processor label is
a number. These numbers are used to represent the signal flow options shown in the Routing section. There are three routing options:
•1-2-3 (Compressor-Gate-Limit)
•2-1-3 (Gate-Compressor-Limit)
•1-3-2 (Compressor-Limit-Gate)
CUBASE SX/SL
The included effect plug-ins1 – 23
Magneto (Cubase SX only)
Magneto brings the positive qualities of analog recording to your digital system, by providing the following capabilities:
•Simulates “tape saturation” and “tape overdrive” in a very realistic manner.
•Adds warmth, punch, and brilliance to a sound.
•Allows you to emphasize the “small details” in the sound.
•Works great on bass and guitar recordings as well as on drums, including
individual samples and drum loops.
•Makes sampled drums and percussion sound much more “natural” and “warm”.
•Removes the “hardness” otherwise associated with digital audio recording.
All this makes Magneto suitable for processing both single sounds
and complete recordings. In other words; practically any recording
that you want to make sound warmer or more “natural”.
The algorithm behind Magneto is based on extensive studies and
measurements of analog tape recorders. Special care has been taken
to transfer the results of these studies into the digital domain.
•
If your audio material has been recorded digitally with Emphasis, it contains a disproportionate amount of high frequencies. This will disturb
the audio analysis in Magneto.
We recommend that you convert such material (removing Emphasis) before processing it with Magneto.
CUBASE SX/SL
1 – 24The included effect plug-ins
About the Drive parameter and Magneto output levels
•Magneto is different from analog tape recorders in one respect: On an analog
tape machine, you will get a lower output level when overdriving the tape “too
far”. This is known as the “saturation” effect. In Magneto, high Drive settings
do not have this effect on the Output level.
•Magneto needs headroom to perform its “magic”. For this reason you may
note a decrease in Output level (compared to the Input level) when using very
low Drive parameter settings (when the onTape meter shows levels below approximately +10dB). Since low Drive settings is not a normal situation (since
the plug-in then practically doesn’t have any audible effect), this is not something you would normally encounter. However, if for some application a low
Drive setting is required, you can compensate for the loss in level with the
Output Level parameter, see later in this text.
Metering Switch
Use the “Level” buttons to switch the meters between three modes:
•
Input
In this mode, the level of the input signal is shown. This should never exceed 0dB, as
mentioned above and described in more detail below.
•
onTape
In this mode, the meters show an equivalent of the level recorded on the simulated
“tape”. See the description of the Drive parameter for more details.
•
Output
This shows the output level for the entire plug-in. This should never exceed 0dB, see
below.
Clip LEDs
The Input and Output Clip LEDs, located on the corresponding “Level”
meter buttons, show if the signal is too “hot” (clipping occurs) at the input or output. The advantage of these is that they indicate clipping regardless of the mode the meters are switched to.
CUBASE SX/SL
The included effect plug-ins1 – 25
Input Level
This is used to make sure the input signal is strong enough, without
exceeding full level (so that clipping is avoided).
•If your input is already normalized, or sufficiently hot, leave this knob at 0.0 dB.
•If you need to adjust the input level, switch the Level metering to Input. Then
adjust the knob until the signal peaks are as close as possible to 0dB without
ever exceeding that level!
Output Level
•Under normal conditions, the Output Level control should be left at 0.0dB.
The DSP algorithm in Magneto includes an “auto-gain” function which tries to
keep the output level as close as possible to 0dBfs, at high Drive settings.
•At very low drive settings (if onTape metering indicates peak levels at 7dB or
less – see the Drive parameter description for more info) you might need to
amplify the signal using the Output Level control. However, always do this
with the Level metering Output button activated, so that you can check that
clipping doesn’t occur.
•At very high HF-Adjust settings, you might need to back off a bit on the Output level. Again, use Output metering to check.
If “digital clipping” occurs
If clipping occurs, (if the sound is heavily distorted), start by switching
to input metering and check the input levels. If the input levels seem
OK, switch to Output metering and adjust the Output Level as needed.
CUBASE SX/SL
1 – 26The included effect plug-ins
The main parameters
You can change the Magneto parameters in realtime – i.e. while the
audio material is played back – and the changes take effect more or
less immediately (depending on your system). This allows you to experiment to get a feeling for how the settings interact.
Input level, Output Level, “Level” buttons and Meters
These are used to adjust the level throughout the signal chain as described on the previous pages.
Drive
This is the main parameter. It is used to set the simulated analog tape
“recording level”. The value corresponds to how far above normal working level (0dB) you want to “record” on the “analog tape”. For example,
a setting of 7 means the “tape” is “overdriven” by 7dB.
The higher you set this, the more of the “tape saturation” effect you
will get.
Please use the following guidelines:
•Start out with a Drive setting of 10dB. Then adjust to taste.
•The effect of this parameter varies drastically with the frequency content and
other characteristics of the material. There is no “best setting” for all types of
recordings.
•If the material you are processing is already compressed or has been recorded
on analog tape, a high Drive setting is not recommended, since it will give the
sound an unnatural character.
•When processing complete mixes, you will have to be more careful with the
Drive settings than when processing individual recordings. If all you want is to
add some “warmth” or “punch” to a complete mix, adjust the Drive setting
carefully.
•Always use the onTape meter to check out the effect of the setting on the material. This meter has to go pretty far above the 0dB level for Magneto to have
any audible effect on the sound. If the meter displays levels close to, or even
below 0dB, you get no “overdrive” or tape saturation effect at all! If this occurs, you need to raise the Drive setting or adjust the input level.
CUBASE SX/SL
The included effect plug-ins1 – 27
Characteristics
This affects the tonal characteristics of the “tape saturation” effect
controlled by the Drive parameter, as described above.
Tape Speed
This switches the tape simulation between 15 and 30 ips (inches per
second) tape speed. There are slight differences in the harmonic
character of the two. How much you will actually be able to hear of
this difference depends on the frequency content of the material.
HF-Adjust
Various types of tape, recording and playback equalizers and the general design of various tape machines has an overall impact on the character of the sound. This control is used to adjust the High frequency
content of the material to simulate those differences. It also has an effect on the perceived “warmth” of the sound.
This parameter can be used to compensate for the loss in high frequency that the overdrive effect introduces. Unlike on a real tape recorder it can also be used to boost the high frequency contents,
compared to the original!
CUBASE SX/SL
1 – 28The included effect plug-ins
MIDI Gate
Gating, in its fundamental form, silences audio signals below a certain
set threshold level. I.e. when a signal rises above the set level, the
Gate opens to let the signal through while signals below the set level
are cut off. MIDI Gate however, is a Gate effect that is not triggered by
threshold levels, but instead by MIDI notes. Hence it needs both audio
and MIDI data to function.
Setting up
MIDI Gate requires both an audio signal and a MIDI input to function.
To set it up, proceed as follows:
1.
Select the audio to be affected by the MIDI Gate.
This can be audio material from any audio track, or even a live audio input (provided
you have a low latency audio card).
2.
Select the MIDI Gate as an insert effect for the audio track.
The MIDI Gate control panel opens.
3.
Select a MIDI track to control the MIDI Gate.
This can be an empty MIDI track, or a MIDI track containing data, it doesn’t matter. However, if you wish to play the MIDI Gate in real-time – as opposed to having a recorded
part playing it – the track has to be selected for the effect to receive the MIDI output.
4.
Open the Output (“out:”) pop-up menu for the MIDI track and select
the MIDI Gate option.
The MIDI Output from the track is now routed to the MIDI Gate.
CUBASE SX/SL
The included effect plug-ins1 – 29
What to do next depends on whether you are using live or recorded
audio and whether you are using real-time or recorded MIDI. We will
assume for the purposes of this manual that you are using recorded
audio, and play the MIDI in real-time.
Make sure the MIDI track is selected and start playback.
5.
Now play a few notes on your MIDI keyboard.
As you can hear, the audio track material is affected by what you play on your MIDI keyboard.
The following MIDI Gate parameters are available:
Parameter Description
AttackThis is used for determining how long it should take for the Gate to open
after receiving a signal that triggers it.
HoldRegulates how long the Gate remains open after a Note On or Note Off
message (see Hold Mode below).
ReleaseThis determines how long it takes for the Gate to close (in addition to the
value set with the Hold parameter).
Note To
Attack
Note To
Release
Velocity To
VCA
Hold ModeUse this switch to set the Hold Mode. In Note-On mode, the Gate will
The value you specify here determines to which extent the velocity values
of the MIDI notes should affect the Attack. The higher the value, the more
the Attack time will increase with high note velocities. Negative values
will give shorter Attack times with high velocities. If you do not wish to
use this parameter, set it to the 0 position.
The value you specify here determines to which extent the velocity values
of the MIDI notes should affect the Release. The higher the value, the
more the Release time will increase. If you do not wish to use this parameter, set it to the 0 position.
This controls to which extent the velocity values of the MIDI notes determine the output volume. A value of 127 means that the volume is controlled entirely by the velocity values, while a value of 0 means that
velocities will have no effect on the volume.
only remain open for the time set with the Hold and Release parameters,
regardless of the length of the MIDI note that triggered the Gate. In NoteOff mode on the other hand, the Gate will remain open for as long as the
MIDI note plays, and then apply the Hold and Release parameters.
CUBASE SX/SL
1 – 30The included effect plug-ins
MultibandCompressor (Cubase SX only)
The MultibandCompressor allows a signal to be split in up to five frequency bands, each with its own freely adjustable compressor characteristic. The signal is processed on the basis of the settings that you
have made in the Frequency Band and Characteristics editors. You
can specify the level, bandwidth and compressor characteristics for
each band by using the various controls.
The Frequency Band editor
The Frequency Band editor is where you set the width of the frequency
bands as well as their level before compression. Two value scales and
a number of diamond-shaped handles are available. The vertical value
scale to the right gives you a clue to the approximate input gain level
of each frequency band.
The diamond-shaped handles provided in the Frequency Band editor
can be dragged with the mouse. You use them to set the corner frequencies and the input gain levels for up to five frequency bands. The
width of each frequency band can be adjusted by dragging horizontally.
CUBASE SX/SL
The included effect plug-ins1 – 31
The Level handles can be moved by dragging them up or down. If you
click and hold on a handle, its current value is displayed. Depending
on the handle type, corner frequency or level is shown.
•The diamond-shaped handles at the bottom are used to define the corner frequencies of the different frequency bands.
•By using the diamond-shaped handles on top of each frequency band you
can cut or boost the input gain by +/- 12dB before compression.
•To reset a Level handle to 0 dB, hold down the [Shift] key on your computer
keyboard and click on the handle.
•If you hold down the [Shift] key and click on the corner frequency handles,
they will be set to the same bandwidth (in octaves). The exact bandwidth they
will be set to is dependent on the number of bands currently used.
If you hold down [Ctrl] (Win) or [Command] (Mac) and move a handle,
the values will change in smaller steps.
Adding and removing frequency bands
To add a frequency band, drag the leftmost or rightmost corner frequency handle towards the middle of the window, and a new band will
automatically appear (given that you have less than the maximum
number of five bands active). To remove a frequency band, drag the
second leftmost or second rightmost handle out of the left or right
edge of the window respectively.
About the Frequency scale
The horizontal value scale below the Frequency band display indicates
frequency. The maximum value on this scale corresponds to half the
sample rate of the audio file used. Hence, if a 44.1kHz soundfile is
used, the highest frequency will be 22kHz.
In the digital domain, only frequencies of up to half the sample rate used
can be reproduced (Nyquist theorem). The values available in the Frequency band display do therefore depend on the sample rate of the audio material used.
CUBASE SX/SL
1 – 32The included effect plug-ins
The Solo button
The Solo button in the lower right part of the MultibandCompressor
panel can be used to separately monitor each of the frequency bands.
This function is useful both when editing bandwidth settings and
compressor characteristics.
•To select another band while solo is active, click somewhere in the
(dark) area of the frequency band that you wish to monitor.
Using the Characteristics editor
By adding breakpoints and drawing curves you set the compressor
characteristic. Before you start using the Characteristics editor, you
have to select the frequency band you want to process. This is done
in the Frequency Band editor by clicking in the area inside the frequency band.
•A selected band is highlighted for editing both in the Frequency Band
and the Characteristics editors.
If you select another frequency band, the previously edited band characteristic is still
shown in the Characteristics window, but it is no longer highlighted or editable until
you select it again.
About breakpoints
•Clicking anywhere on the line will add a breakpoint.
•To remove a breakpoint, hold down [Shift] and click on it.
•The first breakpoint from which the line deviates from the straight diagonal will
be the threshold point.
•Creating a curve in the area below the diagonal input/output line will cause
compression. Compression decreases the output level in relation to the input
level.
•Creating a curve in the area above the diagonal input/output line will cause
expansion. Expansion increases the output level in relation to the input level.
About the Compressor type (MODE)
•Classic mode works like a standard compressor with fixed attack and release
parameters.
•Complex mode features a new compression approach with a program adaptive
circuit. The program adaptive compression automatically optimizes parameters
according to the audio material.
CUBASE SX/SL
The included effect plug-ins1 – 33
The Output dial
The Output dial controls the total output level that the MultibandCompressor passes on to Cubase SX/SL. The range available is +/- 12dB.
If the SoftClip function (see below) is active, the Output dial instead
controls the amount of soft clipping.
The SoftClip function
The SoftClip function is positioned at the very last stage of the internal
signal path, right after the Output dial. When active, it will ensure that
the total output to Cubase SX/SL never exceeds 0dB. It works by
clipping the signal gently, generating harmonics which add a warm,
tube-like characteristic to the signal.
CUBASE SX/SL
1 – 34The included effect plug-ins
VST Dynamics
The VST Dynamics plug-in is similar to the Dynamics plug-in (see
page 18), but with the following differences:
•VST Dynamics has two additional modules: Auto Level and Soft Clip.
•The signal flow is fixed, in the order AutoGate-AutoLevel-CompressorSoftClip-Limiter.
Activating the individual processors
You activate the individual processors by clicking on their labels. Activated processors have highlighted labels. You can activate as many
processors as you want, but remember that not all processors are designed to work together. For example, “Limit” and “SoftClip” are both
designed to ensure that the output never exceeds 0dB, but achieves
this in different ways. To have both of them activated would be unnecessary.
•To turn off all activated VST Dynamics processors, click the lit On button to the right in the panel.
Clicking the button again activates the same configuration of processors.
Auto Gate section
This is exactly the same section as the AutoGate in the Dynamics
plug-in. See page 19 for details.
CUBASE SX/SL
The included effect plug-ins1 – 35
Auto Level section
Auto Level reduces signal level differences in audio material. It can be
used to process recordings where the level unintentionally varies. It will
boost low levels and attenuate high level audio signals. Only levels
above the set threshold will be processed, so low level noise or rumble
will not be boosted. If the input level is greater than 0dB, Auto Level will
react very fast, because it “looks ahead” in the audio material for strong
signal levels and can attenuate levels before they occur, thus reducing
the risk of signal clipping. Auto Level has the following parameters:
ParameterDescription
ThresholdOnly levels stronger than the set threshold will be processed.
Reaction time buttons
(Slow, Mid, Fast)
Here you can set the amount of time it takes for Auto Level to
adjust the gain. Set this according to whether the program
level changes suddenly or over a length of time.
Compressor section
This is exactly the same section as the Compressor section in the
Dynamics plug-in. See page 22 for details.
Soft Clip section
Soft Clip is designed to ensure that the output level never exceeds
0dB, like a limiter. Soft Clip, however, acts differently compared to a
conventional limiter. When the signal level exceeds -6dB, SoftClip
starts limiting (or clipping) the signal “softly”, at the same time generating harmonics which add a warm, tubelike characteristic to the audio
material. Soft Clip is simplicity itself to use as it has no control parameters. The meter indicates the input signal level, and thus the amount of
“softclipping”. Levels in the green area (weaker than -6dB) are unaffected, while levels in the yellow-orange-red area indicate the degree
of “softclipping”. The deep red meter area to the right indicates input
levels higher than 0dB.
•Avoid feeding Soft Clip with excessively high signal levels as audible
distortion may occur, although the output level will never exceed 0dB.
Limiter section
This is exactly the same section as the Limiter in the Dynamics plug-in.
See page 23 for details.
CUBASE SX/SL
1 – 36The included effect plug-ins
Filter plug-ins
This section contains descriptions of the plug-ins in the “Filter” category.
Q (Cubase SX only)
Q is a high-quality 4-band parametric stereo equalizer with two fully
parametric midrange bands. The low and high bands can act as either
standard shelving filters or fixed-gain high/low-cut filters.
Making settings
1. Click the corresponding On button below the EQ curve display to activate any or all of the Low, Mid 1, Mid 2 or High equalizer bands.
When a band is activated, a corresponding eq point appears in the EQ curve display.
2. Set the parameters for an activated EQ band.
This can be done in several ways:
•By using the knobs.
•By clicking a value field and entering values numerically.
CUBASE SX/SL
The included effect plug-ins1 – 37
•By using the mouse to drag points in the EQ curve display window.
By using this method, you control both the Gain and Frequency parameters simultaneously. The knobs turn accordingly when you drag points. In addition, if the Mid 1 and
Mid 2 bands (M1 and M2) are activated there will be two points on each side of the
Gain/Frequency point that control the width (Q) parameter.
If you press [Shift] while dragging, values can be set in finer increments.
Parameters
ParameterDescription
Low Freq (20-2000Hz)This sets the frequency of the Low band.
Low Gain (-20 to +20 dB) This sets the amount of cut/boost for the Low band.
Low CutIf this button is activated for the Low band, it will act as a
Low Cut filter. The Gain parameter will be fixed.
Mid 1 Freq (20-20000Hz) This sets the center frequency of the Mid 1 band.
Mid 1 Gain (+/- 20dB)This sets the amount of cut/boost for the Mid 1 band.
Mid 1 Width
(0.05-5.00 Octaves)
Mid 2 Freq (20-20000Hz) This sets the center frequency of the Mid 2 band.
Mid 2 Gain (-20 to +20 dB) This sets the amount of cut/boost for the Mid 2 band.
Mid 2 Width
(0.05-5.00 Octaves)
High Freq (200-20000Hz) This sets the frequency of the High band.
High Gain (-20 to +20 dB) This sets the amount of cut/boost for the High band.
High CutIf this button is activated for the High band, it will act as a
Output (-20 to +20 dB)This parameter allows you to adjust the overall output level.
Left/Stereo/Right/Mono
Modes
This sets the width of the Mid 1 band, in octaves. The
lower this value, the “narrower” the bandwidth.
This sets the width of the Mid 2 band, in octaves. The
lower this value, the “narrower” the bandwidth.
High Cut filter. The Gain parameter will be fixed.
For stereo signals you can set independent curves for the
left and right channels by clicking the corresponding button. If the Stereo mode is activated, the curve will be applied to both channels.
When channel independent curves have been set, the left/
right channel curves will be colored green and red, respectively. The currently non-selected channel is shown with a
dotted curve. If you activate Stereo mode after independent
curves have been set, the currently active curve will be applied to both channels.
Mono mode is automatically activated for mono signals
and is otherwise unavailable.
CUBASE SX/SL
1 – 38The included effect plug-ins
StepFilter
StepFilter is a pattern-controlled multimode filter that can create
rhythmic, pulsating filter effects.
General operation
StepFilter can produce two simultaneous 16-step patterns for the filter cutoff and resonance parameters, synchronized to the sequencer
tempo.
Setting step values
•Setting step values is done by clicking in the pattern grid windows.
•Individual step entries can be freely dragged up or down the vertical
axis, or directly set by clicking in an empty grid box. By click-dragging
left or right consecutive step entries will be set to the pointer position.
Setting filter cutoff values in the grid window.
CUBASE SX/SL
The included effect plug-ins1 – 39
•The horizontal axis shows the pattern steps 1-16 from left to right, and
the vertical axis determines the (relative) filter cutoff frequency and
resonance setting.
The higher up on the vertical axis a step value is entered, the higher the relative filter
cutoff frequency or filter resonance setting.
•By starting playback and editing the patterns for the cutoff and resonance parameters, you can hear how your filter patterns affect the
sound source connected to StepFilter directly.
Selecting new patterns
•Created patterns are saved with the project, and up to 8 different cutoff and resonance patterns can be saved internally.
Both the cutoff and resonance patterns are saved together in the 8 Pattern memories.
•To select new patterns you use the pattern selector.
New patterns are all set to the same step value by default.
Pattern Selector
Using pattern copy and paste to create variations
You can use the Copy and Paste buttons below the pattern selector
to copy a pattern to another pattern memory location, which is useful
for creating variations on a pattern.
•Click the Copy button with the pattern you wish to copy selected, select another pattern memory location, and click Paste.
The pattern is copied to the new location, and can now be edited to create variations
using the original pattern as a starting point.
CUBASE SX/SL
1 – 40The included effect plug-ins
StepFilter parameters
Parameter/Value Description
Base CutoffThis sets the base filter cutoff frequency. Cutoff values set in the
Cutoff grid window are values relative to the Base Cutoff value.
Base ResonanceThis sets the base filter resonance. Resonance values set in the
Resonance grid window are values relative to the Base Resonance value. Note that very high Base Resonance settings can
produce loud ringing effects at certain frequencies.
GlideThis will apply glide between the pattern step values, causing
values to change more smoothly.
Filter Mode This slider selects between lowpass (LP), bandpass (BP) or
highpass (HP) filter modes (from left to right respectively).
Sync 1/1-1/32
(Straight, Triplet
or Dotted)
MixAdjusts the mix between dry and processed signal.
OutputSets the overall volume.
This sets the pattern beat resolution, i.e. what note values the
pattern will play in relation to the tempo.
CUBASE SX/SL
The included effect plug-ins1 – 41
Tonic – Analog Modeling Filter
(Cubase SX only)
Tonic is a versatile and powerful analog modeling filter plug-in based
on the filter design of the Monologue monophonic synthesizer. Its variable characteristics plus the powerful modulation functions make it an
excellent choice for all current music styles. Designed to be more a
creative tool rather than a tool to fix audio problems, it can add color
and punch to your tracks while being light on CPU usage.
The Tonic Analog Modeling Filter has the following properties:
•Dynamic multimode analog modeling filter (mono/stereo).
•Adjustable drive and resonance up to self-oscillation.
•Envelope follower for dynamic filter control with an audio signal.
•Audio and MIDI trigger modes.
•Powerful step LFO with smoothing and morphing.
•X/Y matrix pad for additional realtime modulation with access to all
Tonic parameters.
CUBASE SX/SL
1 – 42The included effect plug-ins
Filter
ParameterDescription
ModeSets the filter type. Available filter types are: 24dB Low pass,
18dB Low pass, 12dB Low pass, 6dB Low pass, 12dB Band
pass and 12dB High pass.
CutoffSets the filter cutoff frequency. How this parameter operates is
governed by the filter type.
ResChanges the resonance of the multi-mode filter. Full resonance
puts the filter into self-oscillation.
DriveDrive adds a soft, tube-like saturation to the sound. Like for an
analog filter, the amount of saturation also depends on the input
signal level.
MixSets the balance between dry and effect signal.
Ch.Chose between mono or stereo operation. When set to mono, the
output signal of Tonic will be mono regardless of the input signal.
Env Mod
ParameterDescription
ModeTonic offers three types of envelope modulation:
“Follow” tracks the input signal’s volume envelope for dynamic control of the filter cutoff.
“Trigger” uses the input signal to trigger the envelope and have it
run through a single envelope cycle.
“MIDI” uses any MIDI note to trigger the envelope. The filter cutoff
tracks the keys played on the keyboard. In addition velocities higher
than 80 will add an accent to the envelope by increasing the envelope depth and reducing the decay time.
For MIDI control, set up a separate MIDI control track and select
“Tonic” from the output pop-up menu for the track.
AttackControls the attack time of the envelope. Higher attack times result
in slower rise times when the envelope is triggered.
ReleaseControls the release time of the envelope. Higher release times re-
sult in slower envelope tails.
DepthControls the amount of envelope control applied to the filter cutoff
level.
LFO ModUsing this parameter, envelope level modulates the LFO speed.
A rather stunning effect…
CUBASE SX/SL
The included effect plug-ins1 – 43
LFO Mod
ParameterDescription
ModeSets the direction of the step LFO modulation. The available
modes are: Forward, Reverse, Alternating, and Random.
DepthControls the amount of LFO modulation applied to the filter cutoff
level.
RateControls the speed of the LFO modulation. The LFO rate is always
in sync with the song tempo. For example: a rate of 4.00 steps per
beat advances the step sequencer in 16th notes at a 4/4 time signature. A rate of 4.00 beats per step would advance the LFO at
only one step per bar in a 4/4 time signature.
SmoothThe smooth parameter controls the smoothing of the LFO steps.
This works like a glide effect applied to the filter cutoff.
MorphMorph controls the playback value of the LFO step sequencer. It
makes the LFO steps drift about randomly. Experiment freely with
the morph parameter. As you return the knob to its zero position
the step pattern will return to its original setting.
StepsSets the number of steps played in sequence. Deactivated steps
are grayed out in the step window.
PresetOffers a number of step LFO waveform patterns. Choices include:
Sine, Sine+, Cosine, Triangle, Sawtooth, Square, Random and
User (which is the pattern saved with the respective program).
Step MatrixClick into the step matrix to set the level for each of the 16 LFO
steps. A higher amount results in a deeper filter cutoff modulation.
Click and drag along the matrix to “draw” a waveform.
X/Y Pad
ParameterDescription
X ParSets the parameter to be modulated on the x axis of the XY Pad. All
Y ParSets the parameter to be modulated on the y axis of the XY Pad.
XY Pad Use the mouse to control any two of Tonic’s parameters in combi-
CUBASE SX/SL
1 – 44The included effect plug-ins
of Tonic’s parameters are available as destinations
nation. By moving the mouse horizontally, you can control the x parameter, by moving it vertically, you can control the y parameter.
You can also record controller movements as automation data.
Modulation plug-ins
This section contains descriptions of the plug-ins in the “Modulation”
category.
Chorus
The Chorus plug-in adds short delays to the signal, and pitch modulates the delayed signals to produce a “doubling” effect.
The parameters are as follows:
ParameterDescription
MixSets the level balance between the dry signal and the effect. If Chorus
is used as a send effect, this should be set to maximum as you can
control the dry/effect balance with the send.
ShapesThis sets the modulation waveform. Triangle produces smooth modu-
DelayThis controls the depth of the Chorus effect.
StagesThis adds one to three more delay taps, producing a thicker, multi-lay-
ered chorus effect.
•Note that clicking and dragging in the display allows you to adjust the
Frequency and Delay parameters at the same time!
CUBASE SX/SL
The included effect plug-ins1 – 45
Flanger
Flanger is a classic flanger effect with stereo enhancement.
The parameters are as follows:
ParameterDescription
MixSets the level balance between the dry signal and the effect. If the Flanger
OutputSets the overall volume.
Tempo sync
on/off
RateIf tempo sync is on, this is where you specify the base note value for
Tempo Sync
knob
Shape Sync
knob
FeedbackThis determines the character of the flanger effect. Higher settings pro-
DepthThis sets the depth of the modulation sweep.
DelayThis parameter affects the frequency range of the modulation sweep, by
Stereo Basis This sets the stereo width of the effect. 0% is mono, 50% original stereo,
is used as a send effect, this should be set to maximum as you can control
the dry/effect balance with the send.
The button above the Rate knob is used to switch tempo sync on or off.
The button is lit when tempo sync is on.
tempo syncing the flanger sweep (1/1 - 1/32, straight, triplet or dotted).
If tempo sync is off, the sweep rate can be set freely with the Rate knob,
without sync to tempo.
This is the note value multiplier (x1 to x10) for the flanger sweep when
tempo sync is used.
This changes the shape of the modulating waveform, altering the character of the flanger sweep.
duce a more “metallic” sounding sweep.
adjusting the initial delay time.
and 100% maximum stereo enhancement.
CUBASE SX/SL
1 – 46The included effect plug-ins
You can also change parameters in the graphic display. This works as
follows:
•If tempo sync is on, you can set the base note value by clicking the
waveform and dragging left and right.
When tempo sync is off, this sets the Rate parameter.
•You can set the Depth parameter by clicking the waveform and dragging up and down.
This means you can freely adjust Rate and Depth at the same time by clicking and
dragging.
•By click-dragging the green/blue line in the display left or right you
can change the Stereo Basis parameter.
CUBASE SX/SL
The included effect plug-ins1 – 47
Metalizer
The Metalizer feeds the audio signal through a variable frequency filter, with tempo sync or time modulation and feedback control.
ParameterDescription
MixSets the level balance between the dry signal and the effect. If Metalizer
is used as a send effect, this should be set to maximum as you can control the dry/effect balance with the send.
OutputSets the overall volume.
Tempo sync
on/off
SpeedIf tempo sync is on, this is where you specify the base note value for
On buttonTurns filter modulation on and off. When turned off, the Metalizer will
Mono buttonWhen this is on, the output of the Metalizer will be in mono.
SharpnessGoverns the character of the filter effect. The higher the value, the nar-
ToneGoverns the feedback frequency. The effect of this will be more notice-
FeedbackThe higher the value, the more “metallic” the sound.
The button above the Speed knob is used to switch tempo sync on or
off. The button is lit when tempo sync is on.
tempo-syncing the effect (1/1 - 1/32, straight, triplet or dotted). Note
that there is no note value modifier for this effect.
If tempo sync is off, the modulation speed can be set freely with the
Speed knob, without sync to tempo.
work as a static filter.
rower the affected frequency area, producing sharper sound and a
more pronounced effect.
able with high Feedback settings.
•Note that clicking and dragging in the display allows you to adjust the
Sharpness and Tone parameters at the same time!
CUBASE SX/SL
1 – 48The included effect plug-ins
Phaser
The Phaser plug-in produces the classic “swooshing” sound that
characterizes phasing. It works by shifting the phase of the signal and
adding it back to the original signal, causing partial cancellation of the
frequency spectrum.
ParameterDescription
MixSets the level balance between the dry signal and the effect. If the
Phaser is used as a send effect, this should be set to maximum as you
can control the dry/effect balance with the send.
OutputSets the overall volume.
Tempo sync
on/off
RateIf tempo sync is on, this is where you specify the base note value for
FeedbackThis sets the amount of feedback. A higher value produces a more pro-
Tempo Sync
knob
Stereo Basis This sets the stereo width of the effect. 0% is mono, 50% original ste-
The button above the Rate knob is used to switch tempo sync on or off.
The button is lit when tempo sync is on.
tempo syncing the Phaser sweep (1/1 - 1/32, straight, triplet or dotted). If tempo sync is off, the sweep rate can be set freely with the Rate
knob, without sync to tempo.
nounced effect.
This is the note value multiplier (x1 to x10) for the Phaser sweep when
tempo sync is used.
reo, and 100% maximum stereo enhancement.
CUBASE SX/SL
The included effect plug-ins1 – 49
You can also change parameters in the graphic display. This works as
follows:
•If tempo sync is on, you can set the base note value by clicking the
waveform and dragging left and right.
When tempo sync is off, this sets the Rate parameter.
•You can set the Feedback parameter by clicking the waveform and
dragging up and down.
This means you can freely adjust the Rate and Feedback at the same time by clicking
and dragging.
•By click-dragging the blue/green line in the display left or right you
can change the Stereo Basis parameter.
CUBASE SX/SL
1 – 50The included effect plug-ins
Ringmodulator
The Ringmodulator can produce complex, bell-like enharmonic sounds.
Ring modulators work by multiplying two audio signals. The ring modulated output contains added frequencies generated by the sum of, and
the difference between, the frequencies of the two signals.
The Ringmodulator has a built-in oscillator that is multiplied with the
input signal to produce the effect.
ParameterDescription
Oscillator LFO
Amount
Oscillator Env.
Amount
Oscillator WaveSelects the oscillator waveform; square, sine, saw or triangle.
Oscillator RangeDetermines the frequency range of the oscillator in Hz.
Oscillator Frequency Sets the oscillator frequency +/- 2 octaves within the selected
Roll-OffCuts high frequencies in the oscillator waveform, to soften the
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 (which is triggered by the input signal).
Positive and negative values can be set, with center position representing no modulation. Left of center, a loud input signal will
decrease the oscillator pitch, whereas right of center the oscillator pitch will increase when fed a loud input.
range.
overall sound. This is best used when harmonically rich waveforms are selected (e.g. square or saw).
CUBASE SX/SL
The included effect plug-ins1 – 51
ParameterDescription
LFO WaveformSelects the LFO waveform; square, sine, saw or triangle.
LFO SpeedSets the LFO Speed.
LFO Env. AmountControls how much the input signal level – via the envelope gen-
erator – affects the LFO speed. Positive and negative values can
be set, with center position representing no modulation. Left of
center, a loud input signal will slow down the LFO, whereas right
of center a loud input signal will speed it up.
Invert StereoThis inverts the LFO waveform for the right channel of the oscilla-
tor, which produces a wider stereo perspective for the modulation.
Envelope Generator
(Attack and
Decay dials)
Lock L<RWhen this button is enabled, the L and R input signals are
MixAdjusts the mix between dry and processed signal.
OutputSets the overall volume.
The Envelope Generator section controls how the input signal is
converted to envelope data, which can then be used to control
oscillator pitch and LFO speed. It has two main controls:
Attack sets how fast the envelope output level rises in response
to a rising input signal.
Decay controls how fast the envelope output level falls in response to a falling input signal.
merged, and produce the same envelope output level for both
oscillator channels. When disabled, each channel has its own
envelope, which affects the two channels of the oscillator independently.
CUBASE SX/SL
1 – 52The included effect plug-ins
Rotary
The Rotary plug-in simulates the classic effect of a rotary speaker. A
rotary speaker cabinet features variable speed rotating speakers to
produce a swirling chorus effect, commonly used with organs. Rotary
features all the parameters associated with the real thing. The included
presets provide good starting points for further tweaking of the numerous parameters.
The parameters are as follows:
ParameterDescription
SpeedThis controls the speed of the Rotary in three steps: Stop/Slow/Fast.
MIDI CtrlSelects the MIDI continuous controller for the Speed parameter.
See page 54.
ModeSelects whether the Slow/Fast speed setting is a switch (left button
is lit), or a variable control (right button lit). When switch mode is selected and Pitch Bend is the controller, the speed will switch with an
up or down flick of the bender. Other controllers switch at 64.
OverdriveApplies a soft overdrive or distortion.
Crossover Freq. Sets the crossover frequency (200-3000Hz) between the low and
high frequency loudspeakers.
Mic AngleSets the simulated microphone angle. 0 = mono, 180 = one mic on
each side.
Mic DistanceSets the simulated microphone distance from the speaker in inches.
CUBASE SX/SL
The included effect plug-ins1 – 53
ParameterDescription
Low Rotor Amp
Mod.
Low Rotor Mix
Level
Hi Rotor Amp
Mod.
Hi Rotor Freq.
Mod.
PhasingAdjusts the amount of phasing in the sound of the high rotor.
Hi SlowFine adjustment of the high rotor Slow speed.
Hi RateFine adjustment of the high rotor acceleration time.
Hi FastFine adjustment of the high rotor Fast speed.
Lo SlowFine adjustment of the low rotor Slow speed.
Lo RateFine adjustment of the low rotor acceleration time.
Lo FastFine adjustment of the low rotor Fast speed.
OutputAdjusts the overall output level.
MixAdjusts the mix between dry and processed signal.
Adjusts amplitude modulation depth.
Adjusts overall bass level.
High rotor amplitude modulation.
High rotor frequency modulation.
Directing MIDI to the Rotary
For real-time MIDI control of the Speed parameter, MIDI must be
directed to the Rotary.
•Whenever the Rotary has been added as an insert effect (for an audio
track or an FX channel), it will be available on the output (“out:”) popup menu for MIDI tracks.
If Rotary is selected on the “out:” menu, MIDI will be directed to the plug-in from the
selected track.
CUBASE SX/SL
1 – 54The included effect plug-ins
Symphonic
The Symphonic plug-in combines a stereo enhancer, an auto-panner
synchronized to tempo and a chorus-type effect. For best results, apply the Symphonic effect to stereo signals.
The parameters are as follows:
ParameterDescription
MixSets the level balance between the dry signal and the effect. If Sym-
phonic is used as a send effect, this should be set to maximum as you
can control the dry/effect balance with the send.
Tempo sync
on/off
Tempo Sync
pop-up
Tempo Sync
knob
DelayThis determines the delay time and thus the character of the chorus
DepthThis controls the depth of the chorus effect. If you only want to use
RateThis sets the modulation rate for the chorus effect, if activated.
Stereo BasisWhen the Auto-panner is activated, this sets the stereo width of the
OutputAdjusts the output level of the effect.
The button below the Temp sync knob is used to switch tempo sync
on or off. The button is lit when tempo sync is on.
If tempo sync is on, this is where you specify the base note value for
tempo syncing the auto-panning (1/1 - 1/32, straight, triplet or dotted).
This is the note value multiplier (x1 to x10), determining the timing of
the auto-panning.
effect, if activated.
Symphonic as an auto-panner or a stereo enhancer, set this to 0%.
panning. When the Auto-panner is deactivated (Tempo sync off), this
determines the depth of the stereo enhancer effect. 0% is mono,
50% original stereo, and 100% maximum stereo enhancement.
CUBASE SX/SL
The included effect plug-ins1 – 55
You can also change parameters in the graphic display. This works as
follows:
•You can set the Rate parameter by clicking the waveform and dragging left
and right.
•You can set the Depth parameter by clicking the waveform and dragging up
and down.
This means you can freely adjust Rate and Depth at the same time by clicking and
dragging.
•By click-dragging the green/blue line in the display left or right you can
change the Stereo Basis parameter.
CUBASE SX/SL
1 – 56The included effect plug-ins
Tranceformer
Tranceformer is a ring modulator effect, in which the incoming audio is
ring modulated by an internal, variable frequency oscillator, producing
new harmonics. A second oscillator can be used to modulate the frequency of the first oscillator, in sync with the Song tempo if needed.
ParameterDescription
MixSets the level balance between the dry signal and the effect.
OutputAdjusts the output level of the effect.
ToneSets the frequency (pitch) of the modulating oscillator (1 to 5000 Hz).
Tempo sync
on/off
SpeedIf tempo sync is on, this is where you specify the base note value for
On buttonTurns modulation of the pitch parameter on or off.
Mono button Governs whether the output will be stereo or mono.
DepthGoverns the depth of the pitch modulation.
Waveform
buttons
The button above the Speed knob is used to switch tempo sync on or
off. The button is lit when tempo sync is on.
tempo-syncing the effect (1/1 - 1/32, straight, triplet or dotted). Note
that there is no note value modifier for this effect. If tempo sync is off,
the modulation speed can be set freely with the Speed knob, without
sync to tempo.
Sets the pitch modulation waveform.
•Note that clicking and dragging in the display allows you to adjust the
Tone and Depth parameters at the same time!
CUBASE SX/SL
The included effect plug-ins1 – 57
Other plug-ins
This section contains descriptions of the plug-ins in the “Other”
category.
Bitcrusher
If you’re into lo-fi sound, Bitcrusher is the effect for you. It offers the
possibility of decimating and truncating the input audio signal by bit
reduction, to get a noisy, distorted sound. You can for example make
a 24 bit audio signal sound like an 8 or 4 bit signal, or even render it
completely garbled and unrecognizable. The parameters are:
Parameter Description
ModeSelect one of four operating modes for the Bitcrusher. Each mode will
DepthUse this to set the desired bit resolution. A setting of 24 gives the high-
Sample
Divider
MixThis slider regulates the balance between the output from the Bitcrusher
OutputGoverns the output level from the Bitcrusher. Drag the slider upwards to
produce a different sounding result. Modes I and III are nastier and noisier, while modes II and IV are more subtle.
est audio quality, while a setting of 1 will create mostly noise.
This sets the amount by which the audio samples are decimated. At the
highest setting (65), nearly all of the information describing the original audio signal will be eliminated, turning the signal into unrecognizable noise.
and the original audio signal. Drag the slider upwards for a more dominant effect, and drag it downwards if you want the original signal to be
more prominent.
increase the level.
CUBASE SX/SL
1 – 58The included effect plug-ins
Chopper
Chopper is a combined tremolo and autopan effect. It can use different
waveforms to modulate the level (tremolo) or left-right stereo position
(pan), either using tempo sync or manual modulation speed settings.
The parameters are as follows:
ParameterDescription
MixSets the level balance between the dry signal and the effect. If Chopper
is used as a send effect, this should be set to maximum.
Tempo sync
on/off
SpeedIf tempo sync is on, this is where you specify the base note value for
Stereo/Mono
button
Waveform
buttons
DepthSets the depth of the Chopper effect. This can also be set by clicking in
The button above the Speed knob is used to switch tempo sync on (the
button lights up) or off.
tempo-syncing the effect (1/1 - 1/32, straight, triplet or dotted). Note
that there is no note value modifier for this effect.
If tempo sync is off, the tremolo/auto-pan speed can be set freely with
the Speed knob, without sync to tempo.
Determines whether the Chopper will work as an auto-panner (button
set to “Stereo”) or a tremolo effect (button set to “Mono”).
Sets the modulation waveform.
the graphic display.
CUBASE SX/SL
The included effect plug-ins1 – 59
Apogee UV 22 HR (Cubase SX only)
The UV22 HR is a dithering plug-in, based on an advanced algorithm
developed by Apogee (for an introduction to the concept of dithering,
please refer to the chapter “Audio Effects” in the Operation Manual).
You can use the UV22 HR plug-in for all dithering situations, except
when working with surround audio. This is because the UV22 HR is a
standard “stereo in” – “stereo out” plug-in (as opposed to the SurroundDither plug-in, see page 74).
The following options can be set in the UV 22 HR control panel:
OptionDescription
NormalTry this first, it is the most “all-round” setting.
LowThis applies a lower level of dither noise.
AutoblackWhen this is activated, the dither noise is gated (muted) during silent
passages in the material.
Bit Resolution The UV22 HR supports dithering to multiple resolutions: 8, 16, 20 or
24 bits. You select the desired resolution by clicking the corresponding button.
Dither should always be applied post output bus fader.
CUBASE SX/SL
1 – 60The included effect plug-ins
Vocoder
The Vocoder can apply sound/voice characteristics taken from one
signal source, called the “modulator” and apply this to another source,
called the “carrier”. A typical application of a vocoder is to use a voice
as a modulator and an instrument as a carrier, making the instrument
“talk”. A vocoder works by dividing the source signal (modulator) into
a number of frequency bands. The audio attributes of these frequency
bands can then be used to modulate the carrier.
The Vocoder has a built-in carrier (basically a simple polyphonic synthesizer) but you can also use an external carrier, see page 62.
Setting up – using MIDI
In this mode, the Vocoder is set up slightly differently than other plugin effects. This is because this setup requires both an audio signal (as
the modulator source) and a MIDI input (to play the carrier) to function. To set up for using an external carrier, see page 62.
To set up for use, proceed as follows:
1. Select a source for the modulator.
The modulator source can be audio material from any audio track, or even a live audio
input routed to an audio track (provided you have a low latency audio card).
•Good modulator source material are talking or singing voices or percussive sounds, e.g. drum loops.
Static pads or soft ambient material are generally less appropriate for use as modulators, but there are no absolute rules as to what could be used as a modulator source.
CUBASE SX/SL
The included effect plug-ins1 – 61
2. Select the Vocoder as an insert effect for the audio channel with the
modulator signal.
3. Make sure that the Vocoder Mode is set to “MIDI”.
4. Select a MIDI track.
This can be an empty MIDI track, or a MIDI track containing data, it doesn’t matter. However, if you wish to play the Vocoder in real-time – as opposed to having a recorded part
playing it – the track has to have monitoring activated (or be record enabled) for the Vocoder to receive the MIDI output.
5. Select “Vocoder” from the MIDI “out:” pop-up menu for the MIDI track.
The MIDI Output from the track is now routed to the Vocoder. There is an indicator on
the Vocoder panel below the Mode switches that blinks when receiving MIDI.
That concludes setting up – you are now ready to start vocoding!
What you do next depends on whether you are using live or recorded
audio as the modulator source and whether you are using real-time or
recorded MIDI as the carrier input. We will assume for the purposes
of this manual that you are using recorded audio as the modulator,
and play the carrier in real-time.
6. Make sure the MIDI track is record enabled and start playback.
7. Now play a few notes on your MIDI keyboard.
As you can hear, the audio track material, or rather its formant characteristics, is now
applied to the Vocoder’s built-in sound source!
Setting up – using an external carrier
There are two modes for using an external carrier:
•“Ext” mode is when the carrier and the modulator can be any two audio sources.
The synth section is disabled and grayed out when this mode is selected. MIDI input
and the Gap Thru Vocoder parameter are also disabled.
•“MIDI+Ext” mode mixes the audio carrier with the Vocoder’s synth sound.
This is described on page 63.
CUBASE SX/SL
1 – 62The included effect plug-ins
To use an external carrier instead of the built-in synth (“Ext mode”),
you set up as follows:
1. Create a Group channel from the Add Track submenu on the Project
menu.
2. Open an audio file you wish to use as the carrier source and place it
on an empty audio track.
3. Pan the audio channel full right in the Mixer or in the Inspector.
4. Route the output of the audio channel to the group.
5. Open an audio file you wish to use as the modulator source and place
it on another empty audio track.
Events on the two audio tracks (carrier and modulator) have to play back simultaneously
for the Vocoder to work.
6. Pan the modulator audio channel full left in the Mixer or in the Inspector.
7. Route the output of the modulator audio channel to the group.
8. Select the Vocoder as an insert effect for the group channel.
9. Open the Vocoder panel and activate the “Ext.” Mode button.
10.If you now start playback, the carrier channel will be modulated by the
modulator channel!
Note that the synth section on the left half of the Vocoder panel and the “Gap Thru”
parameter are now disabled.
Setting up – using an external carrier plus MIDI
Setting up is the same as for using an external carrier, except that a
MIDI track with its output routed to the Vocoder should also be
present. The MIDI track can either play the Vocoder synth in real time
or from prerecorded parts. Make sure that monitoring (or record enable) is activated for the track so that the Vocoder synth will receive
MIDI played in real time.
•Set up as described, and activate “MIDI+Ext.” mode on the Vocoder
panel.
Any incoming MIDI now triggers the Vocoder synth, and the synths output is mixed
with the audio carrier signal.
CUBASE SX/SL
The included effect plug-ins1 – 63
Vocoder parameters
The Vocoder parameters govern the general sound quality of the
vocoded sound.
ParameterDescription
Number of
Bands
BandwidthThis sets the bandwidth for the frequency bands, which affects the
Min./Max. Freq. These parameters set the minimum and maximum frequency limits for
log/linLog/Lin controls how the frequency bands are spaced between the
Env.SpeedThis determines the attack and release times of the Vocoder envelope.
High ThruThis lets through high frequencies around the “S” frequency from the
Talk ThruAdjusts the level of the original input signal passed to the Vocoder
Gap ThruGap Thru (only available in MIDI mode) sets the level of the original in-
OutputThis controls the output level of the Vocoder.
EmphasisThis is a highpass filter, gradually cutting lower frequencies while let-
This governs how many frequency bands the modulator signal is divided into (2-24). Fewer bands will provide a thinner more resonant
sound, whereas using more bands will make the sound fuller and
more intelligible.
overall timbre. Very narrow bandwidth settings will produce a thin,
whistle-like sound.
the Vocoder, respectively.
minimum and maximum frequencies. Log = equal spacing in octaves,
Lin = equal spacing in Hz. This affects the basic timbre of the Vocoder.
Fast settings will cause the modulator signal to trigger the Vocoder instantly, longer settings will gradually increase the attack/release times,
providing a more subtle Vocoder effect. If set to “HOLD” the modulator
is “frozen”, and doesn’t affect the carrier synth at all.
original input signal while notes are played.
output while notes are played.
put signal that is passed to the Vocoder output when no MIDI notes
are being played. This lets you apply the Vocoder to a vocal track adding vocoded parts just where you want them.
ting high frequencies pass.
CUBASE SX/SL
1 – 64The included effect plug-ins
Vocoder synth parameters
If the built-in synthesizer is the carrier, it is the sound of this instrument
that the modulator source is applied to. The synth is polyphonic with
up to 8 voices and features 2 oscillators per voice. The synth has the
following parameters:
ParameterDescription
VoicesThis sets the number of voices for the synth (1-8).
Fine TuneTunes the oscillators ± a semitone, in cents (100th of a semitone) steps.
Pitch BendSets the up/down range of the Pitch Bend in semitone steps (1-12).
NoiseAdds white noise to the sound.
NoiseModThis makes the oscillators modulate the noise level. This gives the noise
a rasping sound, turning “sss” into “zzz”.
P.DriftAdds random pitch variation to the oscillators.
P.GlideThis makes the pitch glide between notes played. The parameter con-
trols the time it takes for the pitch to glide from one note to the next.
P.BrightThis is a lowpass filter that can be used to soften the tone of the oscilla-
tors. It does not affect the white noise generator.
P.DetuneAllows you to detune one of the oscillators in cent steps.
LFO RateControls the LFO rate (for vibrato).
VibratoAdds vibrato to the oscillators. This can also be controlled by using the
Mod Wheel.
CUBASE SX/SL
The included effect plug-ins1 – 65
Restoration
This section contains descriptions of the plug-ins in the “Restoration”
category.
Grungelizer
The Grungelizer adds noise and static to your recordings – kind of like
listening to a radio with bad reception, or a worn and scratched vinyl
record. The available parameters are as follows:
ParameterDescription
CrackleThis adds crackle to create that old vinyl record sound. The farther to
RPM switchWhen emulating the sound of a vinyl record, this switch lets you set the
NoiseThis dial regulates the amount of static noise added.
DistortUse this dial to add distortion.
EQTurn this dial to the right to cut off the low frequencies, and create a
ACThis emulates a constant, low hum of AC current.
Frequency
switch
TimelineThis dial regulates the amount of overall effect. The farther to the right
CUBASE SX/SL
1 – 66The included effect plug-ins
the right you turn the dial, the more crackle is added.
RPM (revolutions per minute) speed of the record (33/45/78 RPM).
more hollow, lo-fi sound.
This sets the frequency of the AC current (50 or 60Hz), and thus the
pitch of the AC hum.
(1900) you turn this dial, the more noticeable the effect.
Reverb plug-ins
This section contains descriptions of the plug-ins in the “Reverb” category.
Reverb A
Reverb A is a reverb plug-in which provides smooth, dense reverb
effects. Reverb A has the following parameters:
ParameterDescription
MixSets the level balance between the dry signal and the effect (wet). If
Reverb A is used as a send effect, this should be set to maximum wet,
as you can control the dry/wet balance with the send.
Room SizeThis setting determines the “size” of the simulated room environment.
PredelayThis parameter sets a delay between the direct sound and the reverb
effect output. A short predelay before the reverb reduces reverb “clutter” which blurs the sound, and makes the reverb effect more naturalsounding.
Reverb TimeThis parameter sets the length of the reverb time.
Filter HighCutThis filters out high frequencies for the reverb, which can make the re-
verb sound softer.
Filter LowCutThis filters out the lower frequencies for the reverb. It can be used to
reduce low frequency “rumble”.
CUBASE SX/SL
The included effect plug-ins1 – 67
Reverb B
The Reverb B provides reverb with low processor demands. It has the
following parameters:
ParameterDescription
MixSets the level balance between the dry signal and the effect. If Reverb B
is used as a send effect, this should be set to maximum as you can control the dry/effect balance with the send.
Room SizeGoverns the “size” of the simulated room environment.
PredelayThis parameter sets a delay between the direct sound and the reverb
effect output. A short predelay before the reverb reduces reverb “clutter” which blurs the sound, and makes the reverb effect more naturalsounding.
Reverb TimeThis parameter sets the length of the reverb effect.
DampThis parameter “dampens” the higher frequencies, producing a rounder
and smoother sounding reverb.
CUBASE SX/SL
1 – 68The included effect plug-ins
RoomWorks
RoomWorks is a highly adjustable reverb plug-in for creating realistic
room ambience and reverb effects in stereo and surround formats. The
CPU usage is adjustable to fit the needs of any system. From short
room reflections to cavern-sized reverb, this plug-in delivers high quality reverberation. RoomWorks has the following parameters:
ParameterDescription
High FreqFrequency at which the high shelving filter takes effect. Both the
high and low filters EQ the input signal prior to reverb processing.
High Shelf GainThe amount of boost or cut for the high shelving filter.
Low FreqFrequency at which the low shelving filter takes effect.
Low Shelf GainThe amount of boost or cut for the low shelving filter.
PredelayThe amount of time before the onset of reverb. This allows you to
simulate larger spaces by increasing the time it takes for first reflections to reach the listener.
TimeReverb Time in milliseconds.
HoldPressing this button freezes the reverb buffer in an infinite loop
(yellow circle around button). You can create some interesting
pad sounds using this feature.
SizeThis alters the delays times of early reflections to simulate larger
or smaller spaces.
DiffusionThis affects the character of the reverb tail. Higher diffusion is
smoother while less diffusion can be clearer. This emulates changing the types of surfaces in a room (brick vs. carpet for instance).
CUBASE SX/SL
The included effect plug-ins1 – 69
ParameterDescription
WidthThis controls the width of the stereo image. At 100%, you get full
stereo reverb. At 0%, the reverb is all in mono.
EfficiencyThis unique control determines how much of the CPU is used for
RoomWorks. The lower the percentage of efficiency, the more
CPU resources will be used. This will yield a higher quality reverb
than higher percentage settings. Interesting effects can be created with very high Efficiency settings (>90%). Experiment for
yourself.
ExportThis button determines if during audio export RoomWorks will
use the maximum CPU power for the highest quality reverb or
not. You may wish to keep a higher efficiency setting for a desired
effect during export. If you want the highest quality reverb during
export make sure this is selected (yellow circle around button).
VariationPressing this button will generate a new version of the same re-
verb program using altered reflection patterns. This is helpful when
certain sounds are causing odd ringing or undesirable results.
Creating a new variation will often solve these issues. There are
1000 possible variations.
High Damping Freq This determines the frequency above which high frequency
damping will occur.
High Damping
Amount
Low Damping FreqThis determines the frequency below which low damping will
Low Damping
Amount
Envelope AmountThis determines how much effect the envelope attack and re-
This affects the decay time of high frequencies. Normal room reverb decays quicker in the high and low frequency range than in
the midrange. Lowering the damping percentage will cause high
frequencies to decay quicker. Damping percentage values above
100% will cause high frequencies to decay longer than the
midrange.
occur.
The amount of damping applied to the low frequencies. At 100%,
no damping occurs. Values lower than 100% increase the amount
of damping, reducing low frequencies over time. Values above
100% have the opposite effect.
lease controls have on the reverb itself. Lower numbers have a
more subtle effect while higher numbers sound more drastic.
CUBASE SX/SL
1 – 70The included effect plug-ins
ParameterDescription
Envelope AttackThe envelope settings in RoomWorks control how the reverb will
follow the dynamics of the input signal in a fashion similar to a
noise gate or downward expander. Attack determines how long
in milliseconds it takes for the reverb to reach full volume after a
signal peak. This is similar to a predelay but the reverb is ramping
up instead of starting all at once.
Envelope ReleaseThe release determines how long after a signal peak the reverb
can be heard before being cut off, similar to a gate’s release time.
MixDetermines the blend of dry (unprocessed) signal to wet (pro-
cessed) signal. When using RoomWorks inserted in an FX channel, you will most likely want to set this to 100% or use the Send
button.
SendThis button defeats the mix parameter, setting the effect to 100%
wet or affected signal. This button should normally be pressed
when RoomWorks is being used as a send effect inserted on an
FX or group channel.
RotateWhen active, the perspective of the room is shifted 90°.
PosThe position control is only available for surround configurations.
With this parameter you can control where the virtual listening position is within the room. Positive values position the listener closer
to the front of the room and negative values place the listener towards the rear of the room.
Bal (Balance, only
available for surround
channels)
Balance controls the relative levels between the forward and rear
speakers. Positive values favor the front speakers and negative
values favor the rear speakers. Note that when the Rotate option
is activated, these relationships will shift 90°.
CUBASE SX/SL
The included effect plug-ins1 – 71
Surround plug-ins (Cubase SX only)
This section describes the plug-ins in the “Surround” category.
Mix6To2 (Cubase SX only)
The Mix6To2 effect allows you to control the levels of up to six surround
channels, and to mix these down to a stereo output. The pop-up menu
contains a number of speaker arrangement presets that correspond to
some default surround formats. The Mix6To2 lets you quickly mix down
your surround mix format to stereo, and to include parts of the surround
channels in the resulting mix.
•Note that Mix6To2 does not simulate a surround mix or add any psycho-acoustical artifacts to the resulting output – it is simply a mixer.
Also note that the Mix6To 2 should be placed in one of the post fader
insert effect slots for the output bus.
Each of the surround channels has the following parameters:
•Two volume faders that govern the levels of the surround bus to the left and
right side of the (master) bus.
•A Link button that links the two volume faders.
•Two Invert buttons allow you to invert the phase of the left and right side of the
surround bus.
CUBASE SX/SL
1 – 72The included effect plug-ins
The Master bus has the following parameters:
•A Link button that links the two Master faders.
•A Normalize button. If activated, the mixed output will be normalized, i.e. the
output level will automatically be adjusted so that the loudest signal is as loud
as possible without clipping.
SurroundDither (Cubase SX only)
SurroundDither is not an “effect” as such. Dithering is a method for
controlling the noise produced by quantization errors in digital recordings. The theory behind this is that during low level passages, only a
few bits are used to represent the signal, which leads to quantization
errors and hence distortion. For example, when “truncating bits”, as a
result of moving from 24- to 16-bit resolution, quantization errors are
added to an otherwise immaculate recording. By adding a special kind
of noise at an extremely low level, the effect of these errors is minimized. The added noise could be perceived as a very low-level hiss
under exacting listening conditions. However, this is hardly noticeable
and much preferred to the distortion that otherwise occurs.
CUBASE SX/SL
The included effect plug-ins1 – 73
When should I use SurroundDither?
•Basically anytime you mix down to a lower resolution, either in real-time
(playback) or with the Export Audio Mixdown function, you should consider dithering.
•Since SurroundDither is capable of dithering up to six channels at the
same time, it is recommended if you’re using surround channels.
If not, you may want to use the UV22 HR instead, see page 60.
The following options can be set in the SurroundDither control panel:
Dithering Type
There are no hard and fast rules for the following options, it all depends
on the type of material you are processing. We recommend that you
experiment and let your ears be the final judge:
OptionDescription
OffNo dithering is applied.
Type 1Try this first, it is the most “all-round” type.
Type 2This method emphasizes higher frequencies more than Type 1.
Noise Shaping Options (Off, Type 1 - 3)
This parameter alters the character of the noise added when dithering.
Again, there are no fixed general rules, but you may notice that the
higher the number selected here, the more the noise is moved out of
the ear’s most sensitive range, the mid-range.
Ditherbits
This is used to specify the intended bit resolution for the final result.
•The section has six buttons, one for each channel.
•Above each button there are six corresponding value fields that display
the bit resolution the files will be converted to.
Clicking a button several times cycles through the available bit resolution values.
CUBASE SX/SL
1 – 74The included effect plug-ins
An Example
Say you have set up a project to record 24-bit files. After completion,
you want to create a digital 16-bit master for CD burning. Proceed as
follows:
1. Add SurroundDither to a post fader insert effect slot for the output bus.
I.e. in one of the last two slots.
2. Open the control panel for SurroundDither, and select the Dithering
and Noise Shaping Type.
3. Set the Ditherbit destination to “16” for all the master mix outputs currently used, as defined in the VST Connections dialog.
If you are not using Surround channels, this will be Channel 1 and 2.
4. When you now play back the Project, the digital outputs of your audio
hardware will output the mix with 16-bit resolution, with dithering applied.
CUBASE SX/SL
The included effect plug-ins1 – 75
SurroundPan (Cubase SX only)
The SurroundPan plug-in provides a graphical overview representing
the speaker arrangement and the sound source, allowing you to dynamically position the audio in the surround field.
This plug-in is described in detail in the Operation Manual chapter
“Surround Sound”.
CUBASE SX/SL
1 – 76The included effect plug-ins
Tools
This section describes the plug-ins in the “Tools” category.
SMPTE Generator (Cubase SX only)
This plug-in is not an effect device. It sends out SMPTE time code to
an audio output, allowing you to synchronize other equipment to Cubase SX (provided that the equipment can sync directly to SMPTE
time code). This can be very useful if you don’t have access to a MIDIto-time code converter.
The following items and parameters are available:
•Generate Button
Activate this to make the device generate SMPTE time code.
•Link Button
This synchronizes the time code output to the Transport time positions.
When Link is activated, the time code output will exactly match the play position in
Cubase SX.
Activating the Generate button makes the device send the SMPTE time code in “free
run” mode, meaning that it will output continuous time code, independently from the
transport status in Cubase SX. If you wish to “stripe” a tape with SMPTE, you should
use this mode.
•Start Time
This sets the time at which the SMPTE Generator starts, when activated in “free run”
mode (Link button off). To change the Start time, click on a digit and move the mouse
up or down.
CUBASE SX/SL
The included effect plug-ins1 – 77
•Current Time
When Link is on this shows the current position in Cubase SX. If Link is off it shows the
current time of the SMPTE Generator in “free run” mode. This cannot be set manually.
•Framerate
This defaults to the frame rate set in the Project Setup dialog. If you wish to generate
time code in another frame rate than the Project is currently set to (for example to
stripe a tape), you can select another format on the Framerate pop-up (provided that
“Link” is off).
Note, however, that for the other device to synchronize correctly with Cubase SX, the
framerate has to be the same in the Project Setup dialog, the SMPTE Generator and in
the receiving device.
Example - Synchronizing a device to Cubase SX
Proceed as follows:
1. Connect the SMPTE Generator as an insert effect on an audio channel,
and route the output of that channel to a separate output.
Make sure that no other insert or send effects are used on the time code channel. You
should also disable EQ, if this is active.
2. Connect the corresponding output on the audio hardware to the time
code input on the device you wish to synchronize to Cubase SX.
Make all necessary settings in the other device, so that it is set to synchronize to incoming timecode.
3. Adjust the level of the time code if needed, either in Cubase SX or in
the receiving device.
Activate Generate button (make the device send the SMPTE time code in “free run”
mode) to test the level.
4. Make sure that the frame rate in the receiving device matches the
frame rate set in the SMPTE Generator.
5. Activate the Link button.
The SMPTE Generator will now output time code that matches the position of the
Cubase SX Transport panel.
•Press Play on the Cubase SX Transport panel.
The other device is now synchronized and will follow any position changes set with the
Cubase SX transport controls.
CUBASE SX/SL
1 – 78The included effect plug-ins
2
The included VST Instruments
A1 Synthesizer
The A1 is a dual oscillator software synthesizer with the following
main features:
•The A1 is polyphonic with up to 16 voices.
•Multimode filter.
Lowpass, bandpass, highpass and notch filter types are available.
•PWM (Pulse Width Modulation).
•FM (Frequency Modulation).
•Ring Modulator.
•Built-in stereo chorus/flanger effect.
•The A1 receives MIDI in Omni mode (on all MIDI channels).
You don’t need to select a MIDI channel to direct MIDI to the A1.
•The A1 responds to MIDI Controller messages.
See page 89.
CUBASE SX/SL
2 – 80The included VST Instruments
A1 Parameters
Oscillator 1 and 2 section
This section contains parameters affecting the oscillators.
ParameterDescription
OctaveClicking on the outer ring of the dial allows you to tune the oscillator in
octave steps.
SemitoneClicking on the inner ring of the dial allows you to tune the oscillator in
semitone steps.
DetuneTunes the oscillator in cent (100th of a semitone) steps.
ShapeThis sets the waveform for the oscillator (sine, triangle, sawtooth or
pulse).
PWSets the width of the waveform when a Pulse waveform is selected.
Turning the dial clockwise gradually produces a narrower pulse waveform. Note that a PW setting of 100% will lead to complete cancellation
of the waveform (i.e. silence), if no modulation (see PW Mod) is applied.
PW Mod This parameter determines the amount of Pulse Width Modulation
(PWM) by the LFO. Positive and negative values can be set. A Pulse
waveform must be selected for PW Mod to function.
Pitch ModThis parameter determines the amount of oscillator 1 pitch modulation
(or vibrato) by the LFO. Positive and negative values can be set.
FM
(Osc 1 only)
FM Env
(Osc 1 only)
Governs the amount of frequency modulation. See page 89.
This governs how much the Filter Envelope parameters affects the FM
amount. Positive and negative values can be set. See page 89.
CUBASE SX/SL
The included VST Instruments2 – 81
LFO section
This section contains the LFO (Low Frequency Oscillator) parameters.
LFOs are used to modulate parameters like pitch (vibrato) or the filter
cutoff.
ParameterDescription
LFO WaveThis sets the LFO waveform for modulating parameters:
Sine and triangle waves have a smooth waveform, suitable for normal vibrato.
Saw produces a ramp up or down cycle.
S&H produces stepped random modulation.
Square waves produce cycles that abruptly change between two
values.
Random produces smooth random modulation.
LFO SyncIf this is activated, the LFO rate will be synchronized to the se-
quencer tempo in various bar/beat divisions that can be set with
the LFO Speed parameter.
LFO SpeedGoverns the modulation rate of the LFO.
LFO Speed
(tempo sync on)
If the “LFO Sync” parameter is activated, the LFO rate will be synchronized to the sequencer tempo, according to the different beat
divisions that can be specified here.
CUBASE SX/SL
2 – 82The included VST Instruments
Filter section
This section contains the filter parameters:
ParameterDescription
Filter typeSets the filter type to either lowpass, highpass, bandpass or notch.
CutoffControls the filter frequency or “cutoff”. If a lowpass filter is used, it
ResonanceThe Resonance control for the filter. Raise this for a more pronounced
DriveThis parameter can overdrive the filter to produce distortion effects.
Filter Envelope Controls how much the filter cutoff should be affected by the Filter
Filter VelocityDetermines how the filter cutoff will be affected by velocity, i.e. how hard
The filter types are described on page 88.
could be said to control the opening and closing of the filter, producing the classic “sweeping” synthesizer sound. How this parameter operates is governed by the filter mode (see page 88).
filter sweep effect.
Envelope. Negative values will invert the filter envelope settings.
or soft you strike a key. Positive values will increase the cutoff frequency
the harder you strike a key. Negative values will invert this relationship.
Filter Envelope
Attack/Decay/
Sustain/
Release
Cutoff ModThis controls how much the filter cutoff is modulated by the LFO (low
KeytrackIf this parameter is set to values over 0, the filter cutoff frequency will
The Filter Envelope Attack, Decay, Sustain and Release parameters.
Use these parameters to determine how the filter cutoff should open
and close with time, when a note is played. Values can be changed
using the dials or by dragging the breakpoints in the graphic display.
frequency oscillator).
increase the further up on the keyboard you play. Negative values invert this relationship.
CUBASE SX/SL
The included VST Instruments2 – 83
Amplifier section
This section contains the Amplifier parameters:
ParameterDescription
Amplifier Attack/
Decay/Sustain/
Release
VelocityThis determines how much the Amplifier Envelope should be af-
MonoWhen this is activated, the A1 will be monophonic, i.e. only play
The Amplifier Attack, Decay, Sustain and Release parameters. Use
these parameters to determine how the volume should change
with time, when a note is played. Values can be changed using the
dials or by dragging the breakpoints in the graphic display.
fected by velocity, i.e. by how hard or soft you strike a note on the
keyboard.
one voice at a time.
CUBASE SX/SL
2 – 84The included VST Instruments
The Chorus/Flanger section
Adding chorus will introduce a wide stereo effect and generally “fatten” sounds. With higher Feedback settings, more metallic sounding
flanging effects are produced. The section contains the following parameters.
ParameterDescription
SpeedControls the modulation rate of the effect.
FeedbackIncreasing the Feedback parameter value results in a more pro-
nounced sweeping metallic sound. Positive and negative feedback
values can be set.
DepthControls the depth of the modulation.
QuadAdds more delay taps, producing richer chorus/flanger effects.
OnThis turns the chorus/flanger effect on or off.
The Glide section
This section contains the glide parameters.
ParameterDescription
OnIf set to “On” the pitch will glide up or down between notes played.
SpeedControls the time it takes for the pitch to glide from one note to the
next when using Glide.
CUBASE SX/SL
The included VST Instruments2 – 85
The Mixer section
This section controls the relative levels of Oscillator 1 and 2. Here you
also set the levels of the Ring Modulator and Noise Generator outputs.
ParameterDescription
Osc 1Sets the volume of oscillator 1.
Ring ModControls the level of the ring modulator. See page 89.
Osc 2Sets the volume of oscillator 2.
NoiseNoise is commonly used to create wind and percussion type sounds.
To hear the noise generator output on its own, turn down the osc 1
and 2 output in the Mixer.
CUBASE SX/SL
2 – 86The included VST Instruments
Mod Wheel section
This section controls how the modulation wheel affects certain parameters. Positive and negative values can be set. For example, this
can be used to set up so that moving the mod wheel gradually removes Filter Cutoff LFO modulation and instead introduces vibrato.
ParameterDescription
Pitch ModGoverns the amount of LFO modulation of the oscillator frequency
(vibrato) using the mod wheel.
Cutoff ModGoverns the amount of LFO modulation of the Filter Cutoff para-
meter using the mod wheel.
CutoffGoverns how much the mod wheel affects the Filter Cutoff fre-
quency. Positive values raise the cutoff frequency when moving the
mod wheel forward. Negative values invert this relationship.
The Parameter display
The Parameter display is located in the middle of the A1 panel. The
Parameter display shows information about any A1 parameter control
when you point at it with the mouse. The information is presented in
the following way (from left to right):
•“Section” shows what A1 section the parameter belongs to.
•“Parameter” shows the name of the parameter.
•“Value” shows the current value of the parameter.
•“Ctrl” shows the MIDI Controller assigned to the parameter, see page 89.
The included VST Instruments2 – 87
CUBASE SX/SL
Setting the number of voices
A1 can have up to 16 voices, but you can freely set the number of
voices for each program by changing the value in the “Voices” field.
Keyboard section
The keyboard shows incoming MIDI note data as played by “invisible
hands”. The keyboard can be “played” by clicking on it with mouse.
Note that the velocity produced will be fixed and that you cannot
record anything by clicking the keyboard.
•“Bend Range” is the only parameter that can be set in this section.
A value of “1” equals a semitone bend range, “2” equals a range of two semitones etc.
About the Filter types
The A1 features a multimode filter. The various filter modes are selected
with the Filter Type buttons, and are as follows:
•Lowpass
Lowpass filters let low frequencies pass and cuts out the high frequencies. This is the
most commonly used filter type in analog synthesizers.
•Bandpass
A bandpass filter cuts frequencies above and below the cutoff frequency, allowing a
specific range of frequencies to pass while attenuating all others.
•Highpass
A highpass filter is the opposite of a lowpass filter, cutting out the lower frequencies
and letting the high frequencies pass.
•Notch
A notch filter cuts out frequencies in a narrow midrange band, letting the frequencies
below and above through.
Filter Slope
You can also select between 12 or 24 dB filter slopes for all filter types.
A 12 dB Lowpass filter leaves more of the harmonics in the filtered
sound compared to a 24 dB Lowpass filter.
CUBASE SX/SL
2 – 88The included VST Instruments
Ring Modulator
Ring modulators basically multiply two audio signals together. In the
A1, Oscillator 1 is multiplied with Oscillator 2 to produce sum and difference frequencies. Ring modulation can be used to create complex,
bell-like sounds.
•To hear the output of Ring Modulator on its own, turn down the osc 1
and 2 output in the Mixer.
•If the oscillators are tuned to the same frequency, and no modulation
is applied to either the oscillator 1 or 2 frequency, the ring modulated
output will sound fairly similar to the “normal” sound of the oscillators.
It is when the frequencies of osc 1 and osc 2 differ, that you get the
more complex timbres associated with ring modulation.
About FM
Frequency Modulation, or FM, is when the frequency of one oscillator
(called the “carrier”) is modulated by the frequency of another oscillator (called the “modulator”). Using FM can produce a wide range of
harmonic and non-harmonic timbres.
•In the A1, Oscillator 1 is the carrier and Oscillator 2 the modulator.
When using FM, you should turn the master volume for Oscillator 2 down to zero in the
Mixer to hear the “pure” sound of FM. The output of oscillator 2 is internally routed to
oscillator 1 anyway when using FM.
•Changing the frequency of Oscillator 2 also changes the timbre of the
FM sound.
The waveform selected for both oscillators also affects the timbre.
MIDI Controller Messages
The A1 responds to MIDI Controller Messages. All A1 parameters are
assigned controller numbers. To find out what controller number is assigned to a parameter, simply point at the parameter and you can see
the associated controller number assigned to it in the Parameter display (see page 87).
CUBASE SX/SL
The included VST Instruments2 – 89
VB-1 Bass Synth
The VB-1 is a virtual bass instrument built on real-time physical modelling principles. It has the following properties:
•VB-1 is polyphonic with up to 4 voices.
•VB-1 receives MIDI In Omni mode (on all MIDI channels).
You don’t need to select a MIDI channel to direct MIDI to the VB-1.
•VB-1 responds to the following MIDI messages:
MIDI Note On/Off (velocity governs volume), Volume and Pan.
CUBASE SX/SL
2 – 90The included VST Instruments
VB-1 Parameters
Parameter Description
Pick-upTo change the Pick-up position, click and drag the lower end of the Pick-
up. Positioning the pick-up position towards the left produces a hollow
sound that emphasizes the upper harmonics of the plucked string. When
placed towards the right position, the tone is fuller and warmer.
PickThis determines where along the length of the string the initial pluck is
made. This controls the “roundness” of the tone, just like on a real bass.
Click-drag the Pick to change position.
ShapeThis knob selects the basic waveform used to drive the plucked string
model. This parameter can drastically change the sound character. The
control smoothly morphs through the waves. It is possible to create
sounds that have no relation to a bass guitar with this control.
VolumeThis knob regulates the VB-1 volume.
DamperThis parameter controls the length of time the string vibrates after being
plucked.
CUBASE SX/SL
The included VST Instruments2 – 91
LM-7 Drum Machine
(
Volume and Tune faders
(for each drum sound).
Pad (one for each drum sound). Press to audition the drum sound
assigned to the Pad, or to select a sound for adjusting pan.
This adjusts the Pan
for the individual drums. The setting is applied to the
currently selected drum, indicated by a lit yellow LED
over the Pad button.
the position in the stereo image)
This sets the
global velocity
sensitivity for
LM-7.
Master Volume
The LM-7 is a 24-bit drum machine. It has the following properties:
•LM-7 is polyphonic with up to 12 voices.
•LM-7 receives MIDI in Omni mode (on all MIDI channels).
You don’t need to select a MIDI channel to direct MIDI to LM-7.
•LM-7 responds to the following MIDI messages:
MIDI Note On/Off (velocity governs volume).
CUBASE SX/SL
2 – 92The included VST Instruments
LM-7 Parameters
ParameterDescription
VelocityThis sets the global velocity sensitivity for LM-7. The higher the value,
the more sensitive LM-7 will be to incoming velocity data. If set to “0”,
the sounds will play back with a fixed velocity value.
Volume slidersThe volume sliders are used to adjust the volume for each individual
drum sound.
Tune slidersThe tune sliders are used to tune each individual drum sound, up or
down 1 octave.
PadThe Pads are used for two things: To audition the individual drum
sounds, and to select a sound for adjusting pan.
PanoramaThis is used to position an individual sound in the stereo image. The
setting applies to the currently selected sound, indicated by a lit yellow LED over the Pad button.
Drum sounds
LM-7 comes with six sets of drum sounds. “Compressor”, “909” and
“Percussion” are loaded as the default sets when launching LM-7.
“Modulation”, “Fusion” and “DrumNbass” can be loaded by selecting
“Load Bank” from the File menu and opening the lm7_second_set.fxb
file (which is located in the Vstplugins/Drums subfolder).
•You switch between the three loaded sets by using the pop-up menu
(just like you switch between effect programs).
CUBASE SX/SL
The included VST Instruments2 – 93
MIDI note mapping
The table below shows how the drum sounds are assigned to note
values on your MIDI keyboard. The mapping is GM compatible:
Drum soundNote Comment
BdC1
RimC#1Compressor only.
SnareD1
ClapD#1909 only.
Hi-HatF#1
O-Hi-HatA#1
Tom 1A1
Tom 2B2
Tom 3D2
CrashC#2
RideD#2Compressor only.
TambourineF#2Percussion only.
CowbellG#2Percussion only.
Hi BongoC3Percussion only.
Lo BongoC3#Percussion only.
Conga MuteD3Percussion only.
Conga OpenD#3Percussion only.
Conga LoE3Percussion only.
Timbale LoG3Percussion only.
Timbale HiG#3Percussion only.
CabasaA3Percussion only.
CUBASE SX/SL
2 – 94The included VST Instruments
Embracer – Surround Pad Synthesizer
(Cubase SX only)
Embracer is a simple but powerful polyphonic synthesizer designed entirely for producing pads and accompaniment sounds. With its easy-touse envelope and tone controls, it gives you fast access to the sounds
you need without having to search through thousands of presets. However, the most powerful feature of Embracer is its surround output. With
a single switch, you can turn the instrument from stereo to surround and
the width control allows you to spread your pad sound anywhere from
mono to stereo to full 360° surround. The unique “eye” controller gives
you an exact idea of how the sound will be placed in a mix.
If you’ve never worked with a surround system before, now is the time
to start exploring these possibilities.
The Embracer Surround Pad Synthesizer has the following properties:
•Embracer is a Polyphonic surround pad synthesizer.
•2 oscillators with 12 waveforms.
•Independent envelope and tone controls.
•Stereo and surround outputs.
CUBASE SX/SL
The included VST Instruments2 – 95
•Up to 32 voices of polyphony per instance.
•Dynamic width control for exciting 3D sounds.
•Unique “eye” controller for simultaneous tone and width control.
•Full MIDI control implementation.
Osc 1 and 2
ParameterDescription
WaveSelects the waveform for each oscillator. Available waveforms are:
Carpet, DigiPad, Choir, Ensemble, Metal Phaze, Phase Strings, Sing
Sing, Soft Wave, Spit Strynx, Stepfloor, Submerged, Wave Bellz.
Note: If you want to use only one oscillator, set the waveform to
OFF. In this case only one voice per key will be used.
ToneEmbracer offers a high pass and low pass filter for each oscillator.
Both filters are controlled via a single Tone knob. In the 50% center
position, the signal will not be filtered. Reducing the tone value adds
low pass filtering. Values above 50% add high pass filtering. This
parameter can also be controlled by the “eye” controller.
WidthControls the spatial spread of the signal. A value of 0% puts the sig-
nal mono into the center position. In stereo mode, a value of 100% results in a maximum stereo width. In surround mode, a value of 100%
creates a full 360° surround image. The width parameter can be controlled by a variety of modulation sources, as well as by the “eye” controller.
Coarse
(Oscillator 2 only)
Fine
(Oscillator only)
Changes the pitch in semitones. Maximum range is +1/24 semitones = 2 octaves.
Changes the pitch in fine steps with a range of up to +/- 50 cents.
Note: If you want to create a slight detune effect between the oscillators, make sure to set the master tune parameter to a negative
value of the same amount to keep the instrument in tune.
CUBASE SX/SL
2 – 96The included VST Instruments
Envelope and Level
ParameterDescription
AttackControls the attack time of each oscillator. Higher values create
slower attacks.
Attack VelSets the amount of velocity control of the attack time. Higher values
increase the velocity sensitivity.
LevelControls the oscillator output level.
Level VelSets the amount of velocity control of the oscillator level. Higher
values increase the velocity sensitivity.
Master
ParameterDescription
ReleaseControls the overall release time of the volume envelope. Higher
values result in longer release times.
ModeSets the output mode of Embracer. You can choose between “Ste-
reo” and “Surround”. In Stereo Mode, Embracer has one stereo
output in the VST Mixer. In Surround Mode, Embracer has either a
quadraphonic 4-channel output or two independent stereo outputs
in the VST Mixer. See below for more details on using Embracer in
a surround mixer setup.
Width CtrUse this parameter to select a modulation source for the width
parameter. Available sources are: Mod Wheel, Aftertouch, Velocity
and Envelope.
Both oscillators are controlled simultaneously. However, modulation depth is controlled independently by the respective width parameter of each oscillator.
Max PolySets the total number of voices available. Each oscillator uses one
voice per note played. Thus, a two-oscillator sound with 8 voices
results in 4-voice polyphony. The default value for Max Poly is 16.
Fine TuneUse this to adjust the pitch of the whole instrument. Range is +/- 50
Cents. Use Fine Tune in combination with the Fine Tune parameter
of OSC 2 to create smooth detune effects.
Master OutSets the overall output volume of the instrument.
CUBASE SX/SL
The included VST Instruments2 – 97
The “Eye”
The Embracer’s unique “Eye” controller offers a creative new way of
controlling the sound’s overall character and shape. This controller
gives you access to several parameters at the same time.
For each oscillator, there is a circle representing the tone and width of
the sound. Click and drag the corresponding circle to change its shape.
There are also two (numbered) oscillator handles. You can drag these
vertically to change the tone or horizontally to change the width of the
respective oscillator. When you drag a handle, the respective Tone and
Width knobs of the oscillator are adjusted accordingly. Play a note
while editing to hear the effect.
The “eye” can not only be used as a controller for the tone and width
parameters, but also works as a surround scope for monitoring the
spatial integration of the current sound. The display represents the
sound’s position in the stereo or surround sound field. In stereo mode,
the sound position is shown only in the upper half of the display and
represents the front part of the sound field. In surround mode, the
sound position is shown in the upper and lower half of the display and
represents the front and rear part of the sound field.
•You can use Embracer’s automation feature to record the movements of
the mouse within the “eye” controller!
CUBASE SX/SL
2 – 98The included VST Instruments
Using Embracer in Surround Mode
When you want to enjoy Embracer in 3D, set it up in surround mode
and listen to it on a surround system. Let’s assume you have a surround
monitoring system set up with your VST mixer and your VST output
connections are properly set up.
1. Open an instance of Embracer in the VST instruments rack and set it
to surround mode.
2. When you open the VST mixer you will see two separate stereo channels for the Embracer. The first is titled “Embracer” and the second
“Embracer rear”.
3. Assign both channel outputs to the surround output bus.
The two channel strips will now show independent surround panners. By default, the
first output pair is assigned to the front left and right channels and the second output
pair to the rear left and right channels. The surround width can be controlled with the
"width" parameter.
4. Double-click on the surround panner to open its control panel. Set the
“Mono/Stereo” parameter to either “Y-Mirror”, “X-mirror” or “XY-mirror”. You can now freely adjust the surround panning to your taste.
5. If your surround configuration includes a center or LFE channel, you
can also add some of Embracer’s signal to the center or LFE channels.
Feel free to experiment to find out what works best in a given project
and mix.
CUBASE SX/SL
The included VST Instruments2 – 99
Monologue – Monophonic Analog Modeling
Synthesizer (Cubase SX only)
Monologue is a monophonic analog synthesizer based on physical
modeling technology. It offers full, rich and colorful sounds without
consuming a lot of CPU power. The Monologue synthesizer is the
perfect tool for bass, lead and sequenced sounds.
The Monophonic Analog Modeling Synthesizer has the following
properties:
•2 oscillators with sawtooth, square and triangle waveforms.
•Monologue has an additional noise generator for white noise.
•Monologue has two filters: a high pass filter and a versatile multimode
filter.
•Monologue has a single LFO.
•Monologue has 4-stage ADSR mod and amp envelopes.
CUBASE SX/SL
2 – 100The included VST Instruments
Loading...
+ hidden pages
You need points to download manuals.
1 point = 1 manual.
You can buy points or you can get point for every manual you upload.