Steinberg Nuendo - 6.5 New Features

New Features in Nuendo 6.5

Cristina Bachmann, Heiko Bischoff, Christina Kaboth, Insa Mingers, Sabine Pfeifer,
Kevin Quarshie, Benjamin Schütte

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espective holders. For more

4 Working with the New Features

4 TrackVersions
16 Instrument Tracks
18 VST Instruments
22 Track Visibility Management
28 Automatic Hitpoint Detection
30 Score Editor Improvements (NEK only)
30 Re-Record Mode
32 ADR
47 Control Room
63 Loudness

73 New Plug-Ins

73 About the New Plug-Ins

Table of Contents

75 Further Improvements

75 Steinberg Hub
75 Drum Maps and VST3 Instruments (NEK only)
76 Track Quick Control Presets
77 Color Management
80 Project Logical Editor Improvements
80 Project Window Improvements
81 MIDI Monitoring Improvements

3

Working with the New Features

NOTE

TrackVersions

TrackVersions allow you to create and manage multiple versions of events and parts
on the same track.

TrackVersions are available for audio, MIDI, and instrument tracks. You can also

ve

TrackVersions of the chord track, the signature track, and the tempo track.

ha

TrackVersions are useful for the following tasks:

• Starting new recordings from scratch.

• Comparing different takes and comps.

• Managing takes that were recorded in a

TrackVersions are not available for automation tracks.

TrackVersions are included in track archives and project backups. When you work
with the networking feature, only the active TrackVersion is committed.

The TrackVersion key commands can be found in the TrackVersions category of

m

the Key Com

ands dialog.

TrackVersions Pop-Up Menu

The TrackVersions pop-up menu is available for all track types that support
TrackVersions. It contains the most important functions for managing TrackVersions
and a TrackVersions list.

To open the TrackVersions pop-up men
the track name.

TrackVersion List

Lists all TrackVersions of the track for which you opened the TrackVersions
pop-up

menu and allows you to activate a TrackVersion.

multi-track

u for a track, click the arrow to the right of

recording.

New Version

Creates a new, empty TrackVersion for the selected tracks.

4

Working with the New Features

TrackVersions

Duplicate Version

Creates a copy of the active TrackVersion for the selected tracks.

Rename Version

Opens a dialog that allows you to change the TrackVersion name for the
selected tracks.

Delete Version

tes the active TrackVersion for the selected tracks.

Dele

Select Tracks with Same Version ID

Selects all tracks that have a

TrackVersions Inspector Section

The TrackVersions Inspector section allows you to view and manage
TrackVersions for a selected track. It is available for audio tracks, MIDI tracks,
instrument tracks, and the chord track.

TrackVersion with the same ID.

To open the TrackVersions Inspector section for a track, select the track, and in
the Inspector, click the TrackVersions tab.

1) Track Version Indica

In

dicates that more than one TrackVersion exists.

tor

2) Name column

ows the version name. Double-click to change it. The name will be changed

Sh
for all se

lected tracks.

3) ID column

Shows the TrackVersio

n ID.

4) Track Version list

Lists all TrackVersions and allows you to activate one of them for all selected
tracks.

5) New Versi

on

Creates a new, empty TrackVersion for all selected tracks.

5

Working with the New Features

PROCEDURE

NOTE

TrackVersions

6) Duplicate Version

Creates a copy of the active TrackVersion for all selected tracks.

7) Delete Version

Deletes the active TrackVersion for all selected tracks. This function is only

i

lable if the track has more than one TrackVersion.

ava

Creating TrackVersions

You can create new, empty TrackVersions for selected tracks.

1. In the track list, select the tracks for which you want to create a new
TrackVersion.

2. Select Project > TrackVersions > New Version.

You can also use the TrackVersions Inspector (only available for audio
tracks, MIDI tracks, instrument tracks, and the chord track) or the
TrackVersions pop-up menu in the track list to create a new TrackVersion.

RESULT

The event display shows a new, empty TrackVersion. Events of previous

kVersions are hidden. The track list shows a default version name.

Trac

ELATED LINKS

R

TrackVersions Inspector Section on page 5
TrackVersions Pop-Up Menu on page 4

6

Working with the New Features

PROCEDURE

TrackVersions

TrackVersion IDs

All TrackVersions are automatically assigned an ID. TrackVersions that are created
together get the same TrackVersion ID and can be selected together.

In the TrackVersions Ins
the TrackVersion list.

p

ector, the TrackVersion ID is shown in the ID column of

In the track list, you can open the TrackVersions pop-up menu to see the
TrackVersion ID.

Selecting Tracks by TrackVersion ID

You can simultaneously select all tracks that share the same TrackVersion ID.

1. Activate the desired TrackVersion.

2. Select Project > TrackVersions > Select Tracks with same Version ID.

RESULT

All tracks that have TrackVersions with the same ID ar

7

e selected.

Working with the New Features

PROCEDURE

PROCEDURE

TrackVersions

Assigning a Common ID

TrackVersions on different tracks that were not created together have different
TrackVersion IDs. TrackVersions with different IDs cannot be activated together. To
do this, you must assign a new version ID to these tracks.

1. Select the tracks and activate the TrackVersions to which you want to assign

2. Select Project > TrackVersions > Assign Common Version ID.

RESULT

A new ID is assigned to all active TrackVersions on the selected tracks. The tracks

now marked as belonging together. You can now activate them together.

are

a common version ID.

About the Active TrackVersion

If you created more than one TrackVersion for a track, you can show the events of
a specific TrackVersion in the event display. This process is referred to as activating
TrackVersions.

Activating TrackVersions

1. Click the arrow to the right of the track name to open the TrackVersions
pop-up menu.

2. Select the TrackVersion that you want to activate.

RESULT

The selected version is activated and its events are shown in the event display.

8

Working with the New Features

NOTE

PROCEDURE

NOTE

PROCEDURE

TrackVersions

If you work with audio tracks, MIDI tracks, instrument tracks, or the chord track, you
can also use the TrackVersions Inspector to activate a TrackVersion.

RELATED LINKS

Activating TrackVersions on Multiple Tracks

You can simultaneously activate TrackVersions on multiple tracks if these
TrackVersions share the same ID.

1. Select all tracks for which you want to activate a specific TrackVersion.

2. Click the arrow to the right of the track name to open the TrackVersions

TrackVersions Inspector Section on page 5

pop-up menu.

3. Select the TrackVersion that you want to activate from the list.

RESULT

The selected TrackVersion is activated for all selected tracks, and the
co

rresponding events are shown in the event display.

If you work with audio tracks, MIDI tracks, instrument tracks, or the chord track, you
can also use the TrackVersions Inspector to activate a TrackVersion.

Duplicating TrackVersions

You can duplicate a TrackVersion by creating a new TrackVersion that contains a
copy of the active TrackVersion.

1. In the track list, select the tracks and activate the TrackVersion that you want
to duplicate.

9

Working with the New Features

NOTE

PROCEDURE

NOTE

TrackVersions

2. Select Project > TrackVersions > Duplicate Version.

In the event display, a duplicate TrackVersion is displayed. In the track list, a default
version name for the duplicate is shown.

You can also use the TrackVersions Inspector (only available for audio
tracks, MIDI tracks, instrument tracks, and the chord track) or the
TrackVersions pop-up menu in the track list to duplicate a TrackVersion.

RELATED LINKS

TrackVersions Inspector Section on page 5
TrackVersions Pop-Up Menu on page 4

Deleting TrackVersions

You can delete the active TrackVersions for the selected tracks.

1. Select the tracks and activate the TrackVersions that you want to delete.

2. Select Project > TrackVersions > Delete Version.

You can also use the TrackVersions Inspector (only available for audio
tracks, MIDI tracks, instrument tracks, and the chord track) or the
TrackVersions pop-up menu in the track list to delete the active TrackVersion
for selected tracks.

RELATED LINKS

TrackVersions Inspector Section on page 5
TrackVersions Pop-Up Menu on page 4

10

Working with the New Features

PROCEDURE

NOTE

PROCEDURE

TrackVersions

Deleting Inactive TrackVersions

You can remove inactive TrackVersions on one or multiple tracks. This is useful, if
you are sure that you do not need these TrackVersions anymore. You can undo this
operation, and no audio files are deleted.

1. Activate the TrackVersions that you want to keep.

2. Do one of the following:

RESULT

A message informs you how many TrackVersions have been deleted from how many
tracks.

• Select the tracks that contain the inactive TrackVersions that you want to

delete, and select Project > TrackVersions > Delete Inactive Versions of
Selected Tracks.

• Select Project > TrackVersions > Delete Inactive Versions of All Tracks.

If you also want to delete the audio files, use File > Cleanup.

Copying and Pasting Selection Ranges Between TrackVersions

You can copy and paste ranges between different TrackVersions, even across
multiple tracks.

REREQUISITE

P

You have at least 2 TrackVersions.

1. Select the Range Selection tool.

2. Select a range of the TrackVersion that you want to copy.

3. Select Edit > Copy.

4. Activate the TrackVersion into which you want to insert the copied range.

11

Working with the New Features

NOTE

PROCEDURE

TrackVersions

5. Select Edit > Paste.

RESULT

The copied range from the first TrackVersion is

pasted to the second TrackVersion

at the exact same position.

If you want to perform more complicated comping tasks, we recommend to select

Project > TrackVersions > Create Lanes from Versions and proceed with the
Comp tool.

RELATED LINKS

Creating Lanes from TrackVersions on page 15

Copying and Pasting Selected Events between TrackVersions

You can copy and paste selected events between different TrackVersions, even
across multiple tracks.

REREQUISITE

P

You have at least 2 TrackVersions, and you have split the corresponding events with
the Cut tool, for example.

1. Select the Object Selection tool.

2. Select the events that you want to copy.

3. Select Edit > Copy.

4. Activate the TrackVersion into which you want to insert the copied events.

5. Select Edit > Functions

This ensures that the events are inserted at the exact same position.

>

Paste at Origin.

RESULT

The copied events from the first TrackVersion are pasted to the second

ackVersion at the exact same position.

Tr

12

Working with the New Features

PROCEDURE

PROCEDURE

TrackVersions

TrackVersion Names

Each TrackVersion has a default TrackVersion name.

If more than one version is available for the
in the track list and in the TrackVersions Inspector section. By default,
TrackVersions are named v1, v2, etc. However, you can rename each TrackVersion
to your liking.

Renaming a TrackVersion

• In the TrackVersions Inspector section, double-click the TrackVersion name
and enter a new name.

The name is changed. If the available space in the track list is too small, the name is
abbreviated automatically.

track, the TrackVersion name is shown

Renaming TrackVersions on Multiple Tracks

1. Activate all TrackVersions that you want to rename, and select the
corresponding tracks.

2. Select Project > TrackVersions > Rename Version.

13

Working with the New Features

NOTE

PROCEDURE

NOTE

TrackVersions

3. Enter a new TrackVersion name and click OK.

RESULT

In the track list, the new TrackVersion name is shown.

If you want to assign the same ID to TrackVersions, select Project >
TrackVersions > Assign Common Version ID.

RELATED LINKS

Assigning a Common ID on page 8

Adjusting the Track Name Width

1. Select File > Preferences > Event Display > Tracks.

2. Enter a value in the Default Track Name Width field.

This changes the default track name width for all track types that support a track
name.

The Default Name Width setting is also available in the Track Controls
Settings window. Here, you can also make individual settings for the different
track types.

14

Working with the New Features

PROCEDURE

TrackVersions

TrackVersions and Group Editing

You can move TrackVersions to a folder track and use Group Editing mode to
create and edit the different TrackVersions simultaneously.

up Editing is

If Gro
within the folder track.

Refer to the “Working with tracks and lanes” chapter of the “Operation Manual” for
further details about Group Editing.

activated, all TrackVersion functions affect all TrackVersions

TrackVersions and Global Editing Functions

The global editing functions affect only the active TrackVersion. However, there are
a few exceptions.

The following functions affect all TrackVersions, including inactive TrackVersions:

• Edit

• Edit > Range >

• Project > Tempo Track >

> Range > Delete Time

Insert Silence

Open Process Bars Dialog > Insert/Delete

Bars

TrackVersions vs. Lanes

TrackVersions and lanes are individual features that complement each other. Every
TrackVersion can have its own set of lanes.

Creating Lanes from TrackVersions

If your project contains TrackVersions and you want to continue working with lanes,
using the Comp tool, for example, you can create lanes from TrackVersions.

1. Select the tracks for which you want to create lanes.

2. Select Project > TrackVersions > Create Lanes from Versions.

A new TrackVersion named Lanes from Version is added. This TrackVersion
contains all TrackVersions on separate lanes. The original TrackVersions are kept.
Lanes that you create from MIDI TrackVersions are muted.

3. In the track list or in the Inspector, activate the Show Lanes button for the
track.

4. In the Project window toolbar, activate the Comp tool and continue as usual.

15

Working with the New Features

PROCEDURE

PROCEDURE

Instrument Tracks

Creating TrackVersions from Lanes

If your project contains lanes and you want to continue working with the
TrackVersion functions, you can create TrackVersions from lanes.

1. Select the tracks for which you want to create TrackVersions.

2. Select Project > TrackVersions > Create Versions from Lanes.

RESULT

New TrackVersions are added, one for each separate lane. The original lanes are
kept.

If you only want to convert specific lanes, select these lanes.

Any crossfades that you have created between different lanes are discarded.

Instrument Tracks

The handling of instrument tracks has been improved. Instruments that you add via
instrument tracks now support the same features as rack instruments.

• Instrument tracks support multiple audio outputs.

eco

This allows you to play back, mix and r
VST instruments that support multiple outputs.

• Instrument tracks support multiple MIDI inputs.

This allows you to route additional MIDI tracks to multi-timbral instruments

a

re loaded in an instrument track.

that

• Instrument track presets allow you to save and load all VSTi audio outputs for

e

instrument track. Also they save and load volume and pan settings.

th

• Multitrack presets allow you to save all connected MIDI tracks.

Activating Multiple Outputs for Instrument Tracks

rd different instrument outputs of

1. Select Project > Add Track > Instrument.

2. In the Add Instrument Track dialog, select an instrument and click Add
Track.

An instrument track is added to your project.

3. In the instrument track Inspector, click the Activate Outputs button, and
activate all required outputs.

The corresponding number of channels is added to the MixConsole.

16

Working with the New Features

PROCEDURE

NOTE

Instrument Tracks

4. Click Edit Instrument to open the instrument panel, and assign the
instrument outputs to the activated audio outputs.

For more details on how to assign instrument outputs, refer to the description of the
instrument.

RESULT

Your instrument outputs are now routed to dedicated audio outputs and you can

em using the instrument channels in the MixConsole.

mix th

Routing Multiple MIDI Tracks to Multi-Timbral Instruments

1. Select Project > Add Track > Instrument.

2. In the Add Instrument Track dialog, select an instrument and click Add
Track.

An instrument track is added to your project.

3. In the Inspector, click Edit Instrument to open the instrument panel and load
a sound to the first program slot.

4. Select Project

The output of the new MIDI track is automatically routed to the instrument, and the
next available MIDI channel is set.

> Add Track > MIDI.

5. In the Inspector, click Edit Instrument to open the instrument panel and load
a sound to the next available program slot.

RESULT

You can now play back and record different sounds on different tracks. You can
also play back and reco

rd MIDI events for chords, melody, or MIDI control change

messages on separate MIDI tracks.

To save your settings as multi track preset, select the instrument track and the
related MIDI tracks, and select Save Track Preset from the context menu.

AFTER COMPLETING THIS TASK:

You can now route your instrument outputs to different audio outputs in the

rument panel.

inst

ELATED LINKS

R

Activating Multiple Outputs for Instrument Tracks on page 16

17

Working with the New Features

VST Instruments

VST Instruments

The new VST Instruments window allows you to add VST instruments for MIDI and
instrument tracks, giving you an overview of all instruments used in a project. It also
offers you access to 8 quick controls for each added instrument.

The following controls can be found in the VST Instruments window:

1) Add Track Instrument

Opens the Add Instru
instrument and add an instrument track that is associated to this instrument.

2) Find Instruments

Opens a selector that allows you to find an instrument in the VST
Instruments wind

3) Set Remote-Control Focus for VST Quick Controls to Previous/Next

Instrument

Sh

ows and activates the quick controls for the next/previous instrument in the

VST Instruments win

4) Show/Hide all VST Quick Controls

Shows/hides the default quick controls for all loaded instruments.

ment Track dialog that allows you to select an

ow.

dow.

18

Working with the New Features

VST Instruments

5) Settings

Opens the Settings menu, w

here you can activate/deactivate the following

modes:

h

Show VST Quick Controls for One Slot Only s

ows the VST Quick

Controls exclusively for the selected instrument.

MIDI Channel follows track selection ensures that
follow

s the MIDI track selection in the Project window. Use this if you work

the Channel selector

with multitimbral instruments.

Remote-Control Focus for VST Quick Controls follows track selection
ensures

that the VST

Quick Control remote-control focus follows the track

selection.

The following controls are avai

lable on each instrument:

1) Activate Instrument

Activates/deactivates the ins

trument.

2) Edit Instrument

Opens the instrument panel.

3) Freeze In

F

reezes the instrument. This allows you to save CPU power.

strument

4) Instrument Selector

n

Allows you to select another instrume

t. Double-click to rename the
instrument. The name is shown in the VST Instruments window in the Output
Routing pop-up menu for MIDI tracks. This is useful when you work with
several instances of the same instrument.

5) Input Options

T

his lights up when MIDI data is received by the

instrument. Click this button
to open a pop-up menu that allows you to select, mute/unmute, solo/unsolo
for tracks that send MIDI to the instrument (inputs).

6) Ac

tivate Outputs

A

llows you to activate one or more outputs for the instrument.

7) Preset Browser

llows you to load or save an instrument preset.

A

8) Load Pr

A

llows you to load the previous/next program.

evious/Next Program

19

Working with the New Features

VST Instruments

9) Select Quick Control Layer

10) Read/Write Automation

Allows you to select a program.

Allows

you to read/write automation for the instrument

1) Show/Hide VST Quick Controls

Allows you to show/hide the VST Quick Controls for the instrument.

2) Set Remote-Control Focus for VST Quick Controls

llows you to activate the VST Quick Controls to remote-control the

A
instrument.

VST Instruments Window Context Menu

The following functions are available in the VST Instruments window context menu:

• Always on Top

ctivated, the VST Instruments window i

If a

• Add Track Instr

Opens the Add Instru
instrument and add an instrument track associated to this instrument.

ument

ment Track dialog that allows you to select an

parameter settings.

s always on top.

• Add Rack Instrument

Opens a selector that allows you to add a VST instrument.

Instruments Context Menu

The following functions are only available in the instruments context menu:

• Copy/P

Allows you to copy the instrument settings and paste them to another
instrument.

• Load/Save Preset

Allows you to load/save an instrument preset.

• Default Preset

Allows

• Sw

Allows

• Copy A to

Allows you to copy the effect parameters of effect setting A to effect setting B.

aste instrument Setting

you to define and save a default preset.

itch to B Setting

you to activate the setting B.

B

20

Working with the New Features

PROCEDURE

VST Instruments

• Activate Outputs

Allows you to activate one or more outputs for the instrument.

• Remote Control Editor

Open

VST Quick Controls

VST Quick Controls allow you to remote-control a VST instrument from within the
VST Instruments window.

s the Remote Control Editor.

• To show the VST Quick Controls on the VST

Instruments w

indow, activate

the Show/Hide VST Quick Controls button.

Connecting Quick Controls to a Remote Controller

Quick controls become really powerful when used in combination with a remote
controller.

REREQUISITE

P

Your remote device is connected to Nuendo via MIDI.

1. Select Devices > Device Setup.

2. In the Devices list, select VST Quick Controls.

3. From the MIDI Input pop-

• If your remote controller has its own MIDI input and supports MIDI feedback,

you can connect your computer to the device input. Select the corresponding
MIDI port in the MIDI Output pop-up menu.

4. Click Apply.

up menu, select the MIDI port on your computer.

5. Activate Learn.

6. In the Control Name co

, select QuickControl1.

lumn

7. On your remote control device, move the control that you want to use for the
first quic

8. Select the next slot in the Control Name column and

k control.

repeat the previous

steps.

9. Click OK.

RESULT

The quick controls are now associated with control elements on your external
remote

controller. If you move a control element, the value of the parameter that is

assigned to the corresponding quick control changes accordingly.

21

Working with the New Features

NOTE

Track Visibility Management

Track Visibility Management

Configuring the Track List

You can configure which tracks are shown or hidden in the track list.

You can configure the visibility of tracks in the track list using the following
functions:

• Filter Track Type

• Visibility Inspector ta

• Track Visi

• Track Visi

You cannot use these features to show or hide lanes.

bility Agents

bility Configurations

Track Types Filter

The track types filter allows you to determine which track types are shown.

To set up the track types filter, click the Filter Track Ty
found at the following locations:

• On the Project window toolbar.

s

b

pes button. This can be

• Above the track list.

22

Working with the New Features

PROCEDURE

Track Visibility Management

Filtering Track Types

1. On the Project window toolbar, click the Filter Track Types button.

2. Click a dot to the left of a track type to hide it.

This opens the Track Types filter.

RESULT

Tracks of the filtered type are removed from the track list and the color of the Filter
Track Types butto

Visibility Tab

The Project window Inspector features two tabs: Inspector and Visibility. The
Visibility tab allows you to determine which individual tracks are shown in the track

list.

n changes to indicate that a track type is hidden.

• To open the Visibility tab, click its tab or use the Toggle Inspector tabs key
command in the Inspector category of the Key Commands dialog.

23

Working with the New Features

NOTE

NOTE

Track Visibility Management

Showing/Hiding Individual Tracks

The Visibility Inspector tab shows a list of all current tracks. Here you can show
and hide individual tracks.

• To show or hide a track in the track list, click a dot to the left of a track.

• To activate or deactivate several
press [Return].

• To show a hidden track exclusively, [Shift]-click the dot.

• To expand or collapse a folder, click the triangle to the left of a folder track.

Number of Visible Tracks

The number of visible tracks is indicated above the track list. This lets you know how
many tracks are hidden.

• Click the number of visible tracks to show all tracks.

Tracks that are hidden through the track types filter cannot be shown by clicking the
number of visible tracks.

Track Visibility Agents

tracks at the same time, select them and

Track visibility agents allow you to show or hide all tracks, selected tracks, or tracks
with certain properties.

If you divide the track list, the top part of the list is not affected by visibility agents.

To open the Track Visibility Agents pop-up menu, perform one of the following
actions:

24

Working with the New Features

NOTE

Track Visibility Management

• Click the Track Visibility Agents button on the toolbar.

• Open the Visibility Inspector tab and right-click to open the context menu.

ELATED LINKS

R

Showing Tracks with Specific Properties

Visibility Tab on page 23

• To open the Track Visibility Agents pop-up menu, click the Track Visibility

Agents button in the toolbar.

Show All Tracks

Shows all tracks of your project.

Show

Only Selected Tracks

Shows only the tracks that are selected.

Hide Selected Tracks

Hides all tracks that are selected.

Show Tracks with Data

Shows all tracks with events or parts. The tempo track, the signature track,

e cho

and th

rd track are always shown.

Show Tracks with Data at the Cursor Position

Shows all tracks with events or parts at the cursor position.

Show Tracks with Data between the Locators

Shows all tracks with events or parts between the left

and right locators.

Show Tracks with Selected Events

Shows all tracks with sele

cted eve

nts or parts.

Hide Muted Tracks

Hides all tracks that are muted.

You can assign key commands for the track visibility agents in the Channel & Track

Visibility category of the Key Commands dialog.

25

Working with the New Features

PROCEDURE

Track Visibility Management

Undoing Visibility Changes

You can undo/redo up to 10 visibility changes.

1. In the Project window toolbar, click the Track Visibility Agents button.

2. Select Undo Visibility Change.

Advanced Agents

The Advanced Agents submenu features Project Logical Editor presets that allow
you to show or hide tracks with specific properties.

• Click the Track Visibility Agents

Try out the different presets to show or hide your tracks, or use them as a starting

n

t for your own presets in the Project Logical Editor.

poi

bu

tton in the Project window toolbar, and

select Advanced Agents to open a submenu.

Track Visibility Configurations

The Track Visibility Configurations button on the Project window toolbar allows
you to create configurations that are useful for switching quickly between different
visibility setups. Track visibility configurations are saved with the project.

Track Visibility Configurations

This toolbar button displays the name of the

Configurations List

A list of configurations is shown as soon as you create at least one

o

nfiguration. To load a configuration, select it from this list.

c

Create Configuration

active configuration.

Opens the Create Conf
configuration and enter a name for it.

Update Configuration

If you change the active configuration, this is indicated by an asterisk after the
configur
configuration.

ation name. Use this function to save changes to the active

iguration dialog that allows you to save the

26

Working with the New Features

PROCEDURE

NOTE

NOTE

Track Visibility Management

Rename Configuration

Delete Configuration

Move Configuration to Position

Synchronizing Track and Channel Visibility

You can synchronize the track visibility in the Project window with the channel
visibility in the MixConsole.

Opens the Rename Configuration dialo

g that allows you to rename the

active configuration.

Allows you to delete the active configuration.

This function becomes available if 2 or more configurations exist. It allows you
to change

the position of the active configuration on the menu. This is useful,
as you can assign key commands to the first 8 configurations in the Channel
& Track Visibility category of the Key Commands dialog.

1. In the Inspector, open the Visibility tab and click the dot to open the Sync
Track/Channel Visibility menu.

2. Select Sync Project and MixConsole to synchronize the track visibility with
the channel visibility.

The dot in the Visibility tab changes to indicate that the track and channel visibility
are synchronized.

You can only synchronize the track visibility in the Project window with the
channel visibility of one MixConsole. If you enable Sync Track/Channel
Visibility for a second MixConsole, the first link is lost.

If you divide the track list, the top part of the list is not affected. Likewise,
channels in the left or right zones of the MixConsole are not synchronized.

27

Working with the New Features

PROCEDURE

NOTE

NOTE

Automatic Hitpoint Detection

Finding Tracks

The Find Tracks function allows you to find specific tracks. This is useful if you have
a large project with many tracks or if you have hidden tracks using the track visibility
features.

1. Click Find Tracks above the track list, to open a selector that lists all tracks.

2. In the search field, enter the name of the track.

As you type, the selector updates automatically.

3. In the selector, select the track and press [Return].

The selector closes and the track is selected in the track list.

If the track was outside the view or hidden, it is now shown. Tracks that are
hidden using Filter Track Types are not shown.

Automatic Hitpoint Detection

When you add an audio file to your project by recording or by importing, Nuendo
automatically detects hitpoints. This allows you to navigate to hitpoints of an audio
file from within the Project window.

For long audio files, hitpoint detection may take a wh
based on hitpoints are disabled during the calculation.

• To disable automatic hitpoint detection, select File > Preferences > Editing

> Aud

io, and deactivate Enable Automatic Hitpoint Detection.

ile. All operations that are

In the Project window, hitpoints are shown for the selected event, provided that the
zoom factor is high enough. To hide them, select File > Preferences > Event
Display > Audio and disable Show Hitpoints on Selected Events.

RELATED LINKS

Using Hitpoints to Locate Audio Positions in the Project Window on page 29

28

Working with the New Features

PROCEDURE

Automatic Hitpoint Detection

Using Hitpoints to Locate Audio Positions in the Project
Window

You can navigate through the hitpoints of an audio event in the Project window.

P

REREQUISITE

Enable Automatic Hitpoint Detection is activated in the Preferences dialog
(Editing–Audio).

1. Select the audio track that contains the audio event for which you want to
locate hitpoints.

2. Press [Alt]/[Option]-[N] to navigate to the next hitpoint, or [Alt]/[Option]-[B] to
navigate to the previous hitpoint.

The project cursor jumps to the respective hitpoint.

Filtering Hitpoints

You can filter hitpoints in the Hitpoints Inspector tab of the Sample Editor.

You can use the following parameters to filter hitpoints:

Threshold

This filters hitpoints by their peaks. This allows you to discard hitpoints of
quieter crosstalk signals, for example.

Minimum Length

This filters hitpoints by the distance between two hitpoints. This allows you to
avoid creating slices that are

Beats

This allows you to filter hitpoints by their m
discard hitpoints that do not fit within a certain range of a defined beat value.

too short.

usical position. This allows you to

29

Working with the New Features

NOTE

Score Editor Improvements (NEK only)

Score Editor Improvements (NEK only)

Score Inspector

The Score Editor Inspector now features two Inspector tabs: Symbols and
Inspector.

clic

To open an Inspector tab,

• The Symbols tab contains score-related functions. For a description of these
functions, refer to the chapter “Working with symbols” in “Part II: Score layout
and printing” of the “Operation Manual”.

k its header.

• The Inspector tab co
functions, refer to the description of the Key Editor Inspector in the chapter
“The MIDI Editors” in the “Operation Manual”.

The Quick Staff Setup section has been moved from the Symbols tab to the
Inspector tab.

Re-Record Mode

The Re-Record mode allows you to reinitiate a recording with a single click.

The first recording is canceled, the events are removed, and recording is restarted
from th

e exact same position.

ntains MIDI-related functions. For a description of these

30

Working with the New Features

PROCEDURE

NOTE

Re-Record Mode

Re-Recording

1. Activate Transport > Re-Record.

2. Activate recording as usual.

3. Hit the Record button again to restart recording.

RESULT

The project cursor jumps back to the record start position and recording is
re

initiated. Pre-roll and pre-count settings are taken into account.

The previous recordings are removed from the project and cannot be retrieved
using Undo. However, they remain in the Pool.

Common Record Modes

The Common Record Modes determine what happens if you click the Record
button during an audio or MIDI recording.

• In the Transport pan
open the Common Record Modes pop-up menu.

Punch In/Out

In this mode, the recording is stopped.

Re-Record

In this mode, the recording is removed and recording is

Start Recording at Cursor

In this mode, recording starts from the cursor position.

St

art Recording at Left Locator

e

l, click the upper part of the Record Modes section to

restarted.

In this mode, recording starts from the left locator.

31

Working with the New Features

NOTE

ADR

ADR

The ADR panel allows you to perform ADR and language dubbing tasks.

Sometimes, you must re-record dialogue from pro
different language. When you do this, the original takes are played back to allow the
dubbing actor to listen to the original production track as a guide. The actor can
then rehearse the dialogue and re-record it. These tasks can be performed with the
ADR functions that are located in the ADR panel of the Marker window.

To open the ADR panel, select Project > Markers and click ADR a
the Marker window.

To get the most out of the ADR functions, it is important that you understand the
following concepts:

duction tracks or dub them in a

t the bottom of

• ADR and Selecting Markers

• ADR Statuses (Rehearse, Record, Review)

• ADR Modes (Automatic, Free Run)

ADR and Marker Selection

The ADR functionality makes extensive use of markers.

In the marker list, you can select cycle markers to set the start and end position for

Rehea

If you select position markers, only th

If no marker is selected, the start position for any ADR status in Automatic mode is
determined
by the project cursor position.

You can also select multiple markers, for example, to combine multiple takes.

rse, Record, and Review.

by the left locator. In Free Run mode, the start position is determined

e sta

rt position is set.

32

Working with the New Features

NOTE

ADR

ADR Statuses

The ADR statuses Rehearse, Record, and Review are transport functions that
have been designed specifically for ADR tasks.

1) Rehearse

2) Record

Allows you to play back the take, so that the artist can rehearse it.

ADR Modes

Allows

3) Review

A

The ADR statuses take into account all

ELATED LINKS

R

ADR Setup on page 36

You can select either Automatic mode or Free Run mode.

The ADR modes take into account all settings in the ADR Setup window.

• Automatic

This mode is activated by default. It allows you
the position and length of the selected marker. In the different ADR statuses,
the following happens:

you to record the take on

llows you to play back the recorded take for review.

the record-enabled track.

settings in

the ADR Setup window.

to record a take according to

If you click Rehearse, a loca
the selected markers is selected in the Project window ruler. The project
cursor jumps to the start of the Pre-roll phase and playback starts. At the end,
the project cursor automatically jumps back to the start position.

If you click Record, the pr
and playback starts. When the left locator is reached, recording starts. At the
end of the Post-roll phase, recording stops automatically and the project
cursor jumps back to the left locator. The recorded event is automatically
resized to this position.

If you click Rev
and playback starts. At the end of the Post-roll phase, playback stops
automatically and the project cursor jumps back to the take start position.

iew, the pro

tor range according to the position and length of

oject cursor jumps to the start of the Pre-roll phase

ject cursor jumps to the start of the Pre-roll phase

33

Working with the New Features

NOTE

ADR

• Free Run

Activate this mode for more flexibility. It allows you to use the project cursor
position as the ADR start position. You can set the project cursor position
manually or using a marker in the marker list. Free run mode works as follows:

ADR Panel

If you click Rehearse, th

e left locator is set to the project cursor position and
playback starts from there. If Pre is enabled, playback starts with the pre-roll
that you defined in the ADR Setup window. Playback stops when you click
Stop.

If you click Record, th

e project cursor jumps to the take start position and
recording starts. If Pre is enabled, playback starts at the beginning of the
pre-roll phase and recording starts when the take start position is reached.
Recording stops when you click Stop.

If you click Review, th

e project cursor jumps to the take start position and
playback starts. If Pre is enabled, playback starts at the beginning of the
pre-roll phase. Playback stops when you click Stop.

If Return to Start Position on Stop is activated in the Preferences dialog
(Transport page), the project cursor returns to the take start position.

The ADR panel is located in the lower part of the Marker window.

Select Project > Mark

ers and click ADR at the bottom of the Marker window.

1) Locate Previous/Next Marker in Marker Window

Allows you to select the previous/next marker

in the marker list. If Sync
Selection is activated in the Marker Preferences, the corresponding locator
range is also selected in the Project window ruler.

2) Pre

-Roll On/Off

Allows

you to activate/deactivate a pr

e-roll for the Free run mode.

34

Working with the New Features

ADR

3) Free Run Mode On/Off

4) Rehearse

Activate this mode to start from the project cursor position. On stop, the

sor returns to the start position by default. You can change this by

cur
deactivating Return to Start Position on Stop in the Preferences dialog
(Transport page).

Deactivate this mode to use the selected cycle marker. Pre-roll and post-roll
are determi

P

lays back the selected take so that the artist can rehearse it.

ned by the settings on the General tab in the ADR Setup window.

5) Re

cord

Rec

ords the selected take on the record-enabled track.

6) Review

lays back the take for review. To enable this, on the Signal

P

Switchboard,
activate Take in Review mode for Other Audio for the Control Room and
Cue 1.

7) G

uide Track for Cue 1 On/Off

A

llows you to mute the guide track for cue 1.

8) Guide Track for Control Room On/Off

llows you to mute the guide track for the Control Room.

A

9) Setup

d

Allows you to open the ADR Setup win

ow.

10) Marker Preferences

Allows you to show the marker preferences.

11) Show ADR Pa

Allows

you to show/hide the ADR panel.

nel

12) Show Details View

Allows you to show/hide the details view.

ELATED LINKS

R

ADR Modes on page 33

35

Working with the New Features

NOTE

ADR

ADR Setup

General Tab

1) Pre-roll/Post-roll

Allows you to enter a pre-roll/post-roll value.

In the Preferences dialog (Record–Audio page) you can set a value for
Audio Pre-Record Seconds. The post record time corresponds to the
post-roll time.

2) ADR Track Assignment

Allows you to specify which tracks you want to use as guide, M&E, and mic
signal.

3) Re

4) Record File Naming

ELATED LINKS

R

cord Enable Target Track

llows you to automatically record-enable the target track. To enable this, you

A
must se

A
the track name

Enabling Automatic Record-Enabling for Target Tracks on page 45

t up the Target Track marker attribute.

Scheme

llows you to specify a naming scheme for the recorded files that is added to

as a suffix.

36

Working with the New Features

NOTE

ADR

Video Tab

1) Pre-roll/Post-roll

Allows you to enter a pre-roll/post-roll value.

In the Preferences dialog (Record–Audio page) you can set a value for
Audio Pre-Record Seconds. The post record time corresponds to the
post-roll time.

2) Primary Swipe

Activate this to display a bar that swipes from the left to the right side of the

o Player window as a take start indicator. The pre-roll value defines the

Vide

duration of the swipe.

Activate Swipe to Ce

nter to display two bars that swipe from the left and right

sides to the center of the Video Player window.

3) Counter

Activate this to display a count-in by numbers as a take start indicator in the

Video Player

window. Specify a start number in the value field to the right.
The interval between each count is one second. The metronome is
automatically synchronized with the counter.

Activate Invert

Counter to invert the order of the displayed numbers.

Activate Show

Black during Pre-/Post-roll to show a black picture during

pre-roll and post-roll.

37

Working with the New Features

ADR

4) Show Dialogue during ADR/Always show Dialogue

These options allow you to show the dialogue attribute of the selected marker.

Activate Show Dialogue during ADR

to display the Dialogue marker
attribute as a video overlay in the Video Player window during one of the ADR
modes.

Activate Always show Dialo

gue to always display the dialogue marker

attribute.

5) Take Length

A

ctivate this to show a take length indicator at the bottom of the Video Player

win

dow.

Indicator

6) ADR Status Indicator

A

ctivate this to show an ADR status indicator at the top left corner of the

Video Player

Rehearse status is indicated wit

window.

h

a yellow indicator, record status with a red

indicator, and review with a green indicator.

7) Secondary Swipe

h

If you selected multiple markers, activating t

is option displays a swipe as a

pre-roll for every take.

8) Marker Pre-roll

Allows you to define a pre-roll for the secondary swipes.

38

Working with the New Features

NOTE

ADR

Signal Switchboard Tab

The Signal Switchboard tab allows you to define which signals are heard during
the different ADR phases. This helps you to set up different schemes for the
dubbing artist and the ADR operator, for example.

1) Control Room section

Allows you to specify the track that you hear in the Control Room channel
during Rehearse, Record, and Review. F

urthermore, you can determine if

you want to hear the signal during the preroll, take, and postroll phases.

2) Cue selectors

Allow you to switch to another cue channel.

3) Cue section

Allows you to specify the track that you hear in the selected Cue channel

ring re

du

hearse, record, and review. Furthermore, you can determine if you

hear the signal during the preroll, take, and postroll phases.

In the MixConsole, make sure that the Control Room and cue channels are set up
correctly.

39

Working with the New Features

PROCEDURE

PROCEDURE

PROCEDURE

ADR

Setting Up ADR Tracks

To use the available functions in the ADR panel, you must set up your project first.

Creating Guide Tracks

The guide track is to play back the original dialogue that you want to replace.

1. Create an audio track or a group and name it so that you can recognize it as
the guide track.

2. Set the Output Routing pop-up menu to the stereo out output bus that is set
as the Main Mix.

Creating M & E (Music and Effects) Tracks

The M&E track is designed to play back music and effects.

1. Create an audio track or group and name it so that you can recognize it as the
M&E track.

2. Set the Output Routing pop-up menu to the stereo out output bus that is set
as the Main Mix.

Creating Mic Tracks

The mic track is designed to lead the signal that is to be recorded. For this to work,
you must activate its Monitor button.

1. Create an audio track for the mic signal.

2. In the Inspector, set the Input Routing pop-up menu to your microphone
input bus.

3. Set the Output Rou
Main Mix.

ing pop-up menu to the output bus that is set as the

t

40

Working with the New Features

NOTE

PROCEDURE

PROCEDURE

ADR

4. Activate Monitor for the mic signal track.

Creating Other Tracks

The other tracks are designed for recording and for playback of your recordings.

1. Create as many other audio tracks as you need.

2. In the Inspector of each track, set the Input Routing pop-up menu to your

If you use a mic signal track, set the Auto Monitoring mode in the

Preferences dialog (VST page) to Manual. Otherwise, select Tapemachine
Style.

microphone bus.

3. Set the Output Rou
Main Mix.

t

Creating Cue Channels

Cue channels are used for sending cue mixes, also known as headphone mixes, to
performers in the studio during recording.

1. Select Devices > VST Connections > Studio.

2. Activate Enable/Disable Control Room.

3. Click Add Channel and add at least one cue channel.

ing pop-up menu to the output bus that is set as the

41

Working with the New Features

PROCEDURE

NOTE

PROCEDURE

ADR

Setting Up the ADR Environment

Setting up your ADR environment includes importing files and defining takes,
assigning ADR tracks, setting up the routing, configuring video overlays, and
enabling automatic record for target tracks.

Importing Files and Defining Takes

Import your files and define the takes that you want to record by creating cycle
markers.

1. Select File > Import > Video File and navigate to the video file that you want
to import.

2. Select the guide track, select File > Import > Audio File and import the
audio file for the dialogue that you want to replace.

3. Select the M&E track, select File
and effect sounds.

4. Play back the guide track and set up cycle markers for all dialogue that you
want

to re-record.

If you have a take list from a dedicated ADR taker application or an Excel
sheet, you can also import this.

Assigning ADR Tracks

You must define which of your tracks or groups correspond to a specific ADR track.
This is useful for setting up the signal switchboard. The track assignment is stored
with the project.

1. Select Project > Markers.

The Marker window opens.

> Imp

ort > Audio File and import the music

2. Activate Show ADR Panel.

3. Click Setup.

The ADR Setup window opens.

4. Click General.

5. In the ADR Trac
pop-up menus to select the tracks that you want to use as guide, M&E, and
mic signal tracks.

k Assignment section, use the Guide, M&E, and Mic Signal

42

Working with the New Features

PROCEDURE

NOTE

PROCEDURE

NOTE

ADR

Setting Up the Routing for Individual Mixes

You can define which signals are heard during the different ADR phases and set up
different schemes for the dubbing artist and the ADR operator, for example. The
routing that you set up is automatically applied when you use the ADR modes. The
settings are saved globally.

1. On the ADR panel, click Setup.

2. In the ADR Setup window, click Signal Switchboard.

3. Activate the checkboxes for the signals that you want to hear on each ADR

The signal switchboard shows all ADR tracks (sources) for the Control Room
(destination) in the upper section and the cues 1 to 4 (destinations) in the lower
section.

track.

To hear the source signal of a specific ADR track during pre-roll, activate the Pre
option for that track. To hear the signal during the take, activate Take. To hear the
signal during post-roll, activate Post.

In the MixConsole, make sure that the Control Room and cue channels are
set up correctly.

RELATED LINKS

Signal Switchboard Tab on page 39

Configuring Video Overlays

You can set up different video overlays that may be helpful for the dubbing artist.

1. On the ADR panel, click Setup.

2. Select the General tab and enter values for Pre-roll and Post-roll.

You might also want to set a value for Audio Pre-Record Seconds in the
Preferences dialog (Record–Audio page). The post record time
corresponds to the post-roll time.

3. Select the Video tab.

43

Working with the New Features

NOTE

PROCEDURE

NOTE

ADR

4. In the Video Overlays section, configure which overlays are displayed in the

RELATED LINKS

Enabling Dialogue Display in the Video Player

You can display the dialogue that must be replaced or dubbed in the Video Player
window or on a dedicated video output device.

Video Player window.

To enable the timecode display as an overlay in the Video Player window,
select Devices > Device Setup > Video Player. In the Video Playback
section, activate Show Timecode. To adjust the display position, use the
Position pop-up menu.

General Tab on page 36

REREQUISITE

P

The Dialogue attribute is assigned manually or has been imported via a CSV file.

1. In the Marker window, click Set up Attribute Columns, and activate ADR >
Dialogue.

The Dialogue column is displayed in the Marker window.

2. On the ADR panel, click Setup.

3. In the ADR Setup wind

ow, click Video.

4. In the Video Overlays section, activate Show Dialogue during ADR.

RESULT

The dialogue of the selected marker is shown in the Video Pl

ayer window during

Rehearse, Record, and Review.

You can activate Always Show Dialogue if you want to see the dialogue always,
not only during ADR.

44

Working with the New Features

PROCEDURE

NOTE

PROCEDURE

ADR

Enabling Automatic Record-Enabling for Target Tracks

You can automatically record-enable a track when clicking Rehearse, Record, or
Review.

1. In the Marker window, click Set up Attribute Columns, and activate General

2. On the ADR panel, click Setup.

> Target Track.

The Target Track column is displayed in the Marker window.

3. In the ADR Setup wind

4. In the Recording section, activate Record-Enable Target Track.

RESULT

You can now use the Target
number of the track. If you have imported this attribute with the take list, it is shown
automatically.

Only numbers are allowed as values for the target track attribute.

Rehearsing Takes

PREREQUISITE

You have defined takes by creating cycle markers, and set up the signal
Switchboard as required.

ow, click General.

Track column of the Marker window to type in the

1. In the markers list, select the marker for the take that you want to record.

2. On the ADR panel, click Rehearse.

45

Working with the New Features

PROCEDURE

NOTE

PROCEDURE

ADR

Switching from Rehearse to Record

You can switch from Rehearse to Record without stopping playback. This is useful,
if you realize during rehearsing that you want to record straight away.

REREQUISITE

P

You are rehearsing a take.

1. On the ADR panel, click Record.

Recording Takes

• If you click Record during the pre-roll phase, playback continues and recording

starts only at the take start position.

• If you click Record during th

position.

e take phase, recording starts directly at the cursor

PREREQUISITE

The dubbing artist has rehearsed the take and is ready to record. You have
record-enabled the track on which you want to record.

You can combine track selection and record-enabling. Selecting File >

Preferences > Editing > Project & MixConsole and activate Enable Record on
Selected Audio Track.

• On the ADR panel, click Record.

The take is recorded.

46

Working with the New Features

PROCEDURE

NOTE

NOTE

Control Room

Reviewing Takes

• On the ADR panel, click Review.

AFTER COMPLETING THIS TASK:

If you are satisfied with the recording, proceed with the next take.

You can select the next marker in the marker list by clicking Locate Next Marker in
Marker Window. If Sync Selection is activated in the Marker Preferences, the
corresponding take is also selected in the Project window. Make sure that Track
Selection Follows Event Selection is deactivated in the Preferences dialog
(Editing page).

The take is played back so that the director and the artist can review it.

If you cannot hear the recorded take, open the Signal Switchboard and make
sure that Take is activated in Review mode for Other Audio for the Control
Room and Cue 1.

Control Room

The Control Room features allow you to divide the studio environment into the
performing area (studio) and the engineer/producer area (control room).

To open the Control Room mixer you have 2 options:

•Select Device

This opens the Control Room in a

•Select Devices > Mi

Room/Meter.

This opens the Control Room sec

The Control Room mixer itself is divided into
the tabs at the bottom.

• The Mixer tab
mixing, and mastering, for example.

• The Setup
project.

s > Contro

contains all controls that you use regularly during recording,

ta

b contains settings that you most probably use only once for a

l Room Mixer.

separate window.

xConsole > Set up Window Layout > Control

tion in the MixConsole.

2 sections that you open by clicking

47

Working with the New Features

PROCEDURE

NOTE

Control Room

Adding Channels to the Control Room

To be able to use the Control Room, you need to add the channels that you need
first.

1. Select Devices > VST Connections.

2. Click Studio.

3. Click Add Channel.

A pop-up menu lists all available channel types and shows how many instances of
each type are available.

4. Select a channel type.

For most channel types, a dialog opens, that allows you to choose the channel
configuration.

5. Click the Audio Device column to set an audio device for the channel type.

6. Click the Device Port c

RESULT

The Control Room functions are available for use. If you disable the Control Room,
the c
Room.

Output Routing

The channel width of the Control Room can only be as wide as the Main Mix bus.

All other outputs are not routed through the Contro

However, they can be added as additional monitor sources in the VST Connections
wind
shown on the Studio tab. The reason is that the Main Mix is always available as a
monitor source in the Control Room Mixer.

olumn to assign a port for the channel.

You cannot assign the same device port to a bus or channel and a Control
Room channel at the same time.

onfiguration is saved and will be restored when you reenable the Control

l Room Mixer.

ow. When the Control Room is enabled, the Main Mix bus is automatically

48

Working with the New Features

NOTE

NOTE

Control Room

Exclusive Assignment of Monitor Channels

Generally, the port assignment to the Control Room channels is exclusive. However,
it can be useful to create monitor channels that share device ports with each other
as well as inputs and outputs. This can be helpful if you use the same speakers as
a stereo pair and also as the left and right channels of a surround speaker
configuration, for example. Switching between monitors that share device ports is
seamless, multi-channel audio is mixed down to stereo as needed. Only one monitor
set can be active at a time.

If your scenario does not require you to assign ports to several monitor channels, it

commended to activate the Exclusive Device Ports for Monitor Channels

is re
option in the Preferences dialog (VST–Control Room page). This way, you can
make sure that you do not accidentally assign ports to inputs/outputs and monitor
channels at the same time.

The state of the Exclusive Device Ports for Monitor Channels preference is saved
together with the Control Room presets. Therefore, if you recall a preset, your
current setting in the Preferences dialog might be overwritten.

Control Room Channels

Each Control Room channel type that you create defines an input or output of the
Control Room Mixer.

Monitor Channels

A monitor channel represents a set of outputs that are connected to monitor
speakers in the Control Room.

You can create up to 4 monitor channels for a mono, stereo, or surround speaker
co

nfiguration. Each monitor can have its own custom downmix settings, input gain,

and input phase settings.

Monitor channels can share hardware inputs or outputs with another bus or
channel. When you create the connections for the monitor channels, device ports
that are already used for other busses or channels are shown in red on the Device

Port pop-up menu. If you select a used port, its previous connection is lost.

49

Working with the New Features

NOTE

EXAMPLE

Control Room

Monitor Sources

You can set up different monitor sources and use the Control Room Mixer to
select the mix sources that you want to listen to. Different monitor sources for
dialogue, sound effects, and music are useful in post production setups that require
more than one mix bus.

You can create up to 8 monitor sources for a mono, stereo or surround speaker
co

nfiguration. These can be input or output busses that you set up in the

Inputs/Outputs tab of the VST Connections window, or a group channel.

If you select a monitor source with a wider configuration than the Main Mix bus,
automatic downmixing occurs.

Phones Channel

You can use the phones channel in the Control Room to listen to cue mixes.

You can create 1 phones channel for a stereo configuration. It allows you to listen

main mix or cue mixes or to external inputs on a pair of headphones. You can

to the
also use it for previewing.

Cue Channels

You can use cue channels for sending cue mixes, also known as headphone mixes,
to performers in the studio during recording.

You can create up to 4 cue channels in mono or stereo for 4 discrete cue mixes.

ch

Cue
mix, external inputs, or a dedicated cue mix.

If you have 2 available headphone amplifiers for performers, you can create 1 cue
channel for each cue mix and name them according to their function: vocalist mix,
bass player mix, etc.

annels have talkback and click functions. They allow you to monitor the main

Cue Channels and Cue Sends

For every cue channel that you define in the VST Connections window, each
channel in the MixConsole has a cue send with level, pan, and pre/post-fader
selection. These cue sends can be used to create discrete cue mixes that
performers can listen to.

• In the MixConsole, activa

te Racks

50

> Cue Sends to show the cue sends.

Working with the New Features

NOTE

NOTE

NOTE

Control Room

External Inputs

You can use external inputs for monitoring external devices, such as CD players,
multi-channel recorders, or any other audio source.

You can create up to 6 external inputs for a mono, stereo, or surround speaker

onfigur

c

If you select external inputs as input source of an audio channel, you can record
them. In this case, you do not need to assign the device ports to the input channel.

Talkback Channels

You can use talkback channels for communication between the Control Room and
performers in the studio.

ation.

You can create up to 4 talkback channels and assign a mono input channel to each

ne of

o

You can also use talkback channels as input source for audio tracks and record
the

You can insert effects like a compressor or limiter on
ensures that erratic levels do not disturb performers and that clear communication
with everyone is possible.

In the Preferences dialog (VST–Control Room page) the Auto Disable Talkback
Mode allows you to specify how talkback works during playback and recording.

them.

m.

You can route them to each cue channel and use different levels.

Metering Channel

You can use a metering channel for connecting a hardware metering device.

The metering channel allows you to meter monitoring sources without having the
listening vo
feeds the same signal that goes through the meter channel.

lume affect the meter. This channel is a physical ASIO output which

talkback channels. This

The metering channel does not appear in the project.

51

Working with the New Features

Control Room

Control Room Mixer

The Control Room Mixer displays information and controls for the channels that
you define on the Studio tab in the VST Connections window.

The Contro

l Room Mixer

is divided into a number of sections that you open by
clicking their header. To open several sections simultaneously, use
[Ctrl]/[Command]-click.

52

Working with the New Features

Control Room

External

The External section is only shown if you have added more than one external input
in the VST Connections window.

To switch to another external input, click the input name and select a new external
input from the pop-up menu.

Monitor Sources

The Monitor Sources section allows you to select which monitor sources are
routed to the Control Room.

1) Multiple Monitor Sources

Allows you to listen to several submixes at
must activate the monitor sources that you want to include.

2) Moni

tor Sources

A

llows you to listen to a monitor source. If you want to listen to only one

sour

ce, deactivate Multiple Monitor Sources. If you [Alt]/[Option]-click a
monitor source, you can listen to it exclusively, even if Multiple Monitor
Sources is activated. If you [Shift]-click a monitor source, you can activate
several monitor sources, even if Multiple Monitor Sources is deactivated.

the same time. For this to work, you

53

Working with the New Features

Control Room

Cue Channel

1) Activate Cue Channel

2) Source Selectors

Allows you to activate/deactivate the cue channel.

llow you to select the source for the cue channel: monitor mix (Mix), external

A

(Ext), or the cue sends (Cues). The signal presence indicators in the

inputs
upper left corner light up when the source channel is sending data to the cue
channel.

3) Enable Talkback to Cue Channel

Allows you to activate talkback for communication between the Control Room
and the perform

ers in the studio. You can set the level of the talkback signal

with the slider.

4) Activate Metronome Click

A

ctivates the metronome click. Use the Click Level an

d Click Pan controls to

set the volume and the pan position of the metronome click.

5) Signal Level

Allows you to set the signal level.

54

Working with the New Features

Control Room

Channels

The Channels section shows the speaker arrangement of the Main Mix bus.

You can use the solo functions to listen to individual ch
can also use this to test your multi-channel speaker system and make sure that the
correct channels are routed to the speakers.

1) Solo Left and Right Channels

Allows you to solo the left and right channels.

2) Solo Front Channels

Allows

3) Solo Surround

you to solo the front channels.

Channels

annels of the Main Mix. You

4) Listen to Solo Channe

5) Listen to Surround Channels on Front

6) Solo LFE

Monitors

The Monitors section allows you to select and configure the monitor sets.

Allows you to solo the surround channels.

ls

on Center Channel

Allows you to listen to all soloed speakers in the center channel. If the center
chan

nel is not available, the channels are distributed equally to the left and

right.

Channels

Allows you to solo the surround channels and route them to the front
speakers.

Channel

Allows

you to solo the LFE channel.

55

Working with the New Features

Control Room

Downmix Presets

The Downmix Presets section allows you to configure downmix presets.

1) Assign Downmix Preset

Allows you to configure a downmix preset for
the Monitors section.

2) Select Output Confi

Allows you to select an output channel configuration.

Phones Channel

1) Activate Phones Channel

Allows you to activate/deactivate the phones channel.

the monitor that is selected in

guration

2) Source Selectors

llow you to select the source for the phones channel: monitor mix (Mix),

A

ternal inputs (Ext), or the cue sends (Cues). The signal presence indicators

ex
in the upper left corner light up when the source channel is sending data to
the Phones channel.

3) Signal Level

Allows you to set the signal level. [Ctrl]/[Command]-click to set the level to the

ference level specified in the Preferences dialog (VST–Control Room

re
page).

4) Activate Metronome Click

Act

ivates the metronome click.

56

Working with the New Features

Control Room

5) Click Level and Click Pan

Use the Click Level and Click Pan con
position of the metronome click.

6) Enable Listen for

Enables

the listen bus function.

Output

7) Listen Level

Allows you

to set the listen level.

Control Room Channel

The Control Room channel is the representation of the bus that is set up as the Main
Mix bus on the Outputs tab in the VST Connections window or the one that is
selected as monitor source.

trols to set the volume and the pan

The following section contains a description of the individual controls.

1) Activate Control Room Channel

Allows you to activate/deactivate th

e Control Room channel.

2) Signal Level

Allows you to set the volume for the Control Room output. This does not affect

recording input level

the

or the Main Mix level for exporting mixdowns.

[Ctrl]/[Command]-click to set the level to the reference level specified in the

Preferences dialog (VST–Control Room page).

57

Working with the New Features

Control Room

3) Signal Meter

Shows the volume for the

Control Room output.

1) Source Selectors

Allow you to select the source for the Control Room channel. The available
sour

ces depend on the channels that you added to the Control Room. The
signal presence indicators in the upper left corner light up when the source
channel is sending data to the Control Room channel.

2) Dim Sign

al

Activate this to lower the Control Room level by a fixed amount. This allows
quick reduction in monitor volume without disturbing the current monitor level.
Clicking the DIM button again returns the monitor level to the previous setting.

3) Use Reference

Ena

ble this button to set the Control Room

Level

level to the reference level
specified in the Preferences dialog (VST–Control Room page). The
reference level is the level that is used in calibrated mixing environments, such
as film dubbing stages.

a

4) Activate Metronome Click

Act

ivates the metronome click.

1) Monitor Selectors

Allow you to select another monitor source.

2) Downmix Pres

et Selectors

Allow you to select another downmix preset.

3) Activate Talkback

llows you to activate talkback for communication between the Control Room

A
and the perform

ers in the studio. Click to activate, click and hold for

momentary mode.

58

Working with the New Features

Control Room

4) Talk Off

1) Click Level and Click Pan

If you add more than 1 talkback channel, Talk Off becomes available. This

you to deactivate all activated talkback channels.

allows

Use the Click Level and Click Pan con

trols to set the volume and the pan

position of the metronome click for the Control Room channel.

2) AFL/PFL

A

llows you to determine whether the signal of a listen-enabled channel is

routed to the Con

trol Room channel after applying the fader and pan settings

(AFL) or before applying the fader and pan settings (PFL).

3) Enable Listen for Output

Enables the

4) Li

A

sten Level

llows you to adjust the volume of listen bus signals that are routed to the

listen bus function for the Control Room output.

Control Room output.

5) Li

sten Dim

Allows

you to adjust the volume of the

Main Mix (or monitor source) when
channels are in listen mode. This keeps listen-enabled channels in context
with the Main Mix. If the Listen DIM level is set to the minimum value, you only
hear the listen-enabled channels.

6) Talk Dim

When Talkback is active,
channels in the Control Room Mixer is reduced, to prevent unwanted
feedback.

Control Room Setup

The Control Room setup contains additional settings for the channels.

• To open the Control Room setup, clic
the Control Room.

this slider controls how much the output of all the

k the Setup tab at the bottom right of

59

Working with the New Features

Control Room

The Control Room setup is divided into a number of sections that you open by
clicking their headers.

Input Gain

Setting up the input gain can be useful in the following situations:

• To balance the level of exte

rnal inputs, that is CD players and other sources

to the Main Mix level, for A/B comparisons.

60

Working with the New Features

Control Room

• To balance the level of your monitor systems, so that switching between sets

Input Phase

of speakers does not change the playback volume.

Reversing the input phase can be useful for external inputs and monitor speaker
outputs.

Insert Effects

Each Control Room channel has a set of insert effect slots.

• Use the inserts on the Control Room channel for metering and spectral
analysis plug-ins

All solos including the Listen bus will come through the Control Room channel
and allow analysis of
of the Control Room channel can prevent accidental overloads and damage
to speaker systems.

• Use the inserts for the talkback channel to
talkback microphone.

.

individual sounds. A brickwall limiter in the last insert slot

control the dynamics of the

This will help protect performers’ hearing and ensure that everyone can be

ar

d over the talkback microphone.

he

• Use the monitor inserts for surround decoding or brickwall limiting to protect

nsit

ive monitor speakers.

se

Each monitor channel has a set of eight inserts, all of which are po
Room fader.

61

st Control

Working with the New Features

PROCEDURE

Control Room

Setting Up a Cue Mix

You can create a cue mix from the fader and pan levels that are used in the
MixConsole and change them to meet the needs of the individual performers.

1. In the MixConsole, select the channels from which you want to copy the
settings.

2. In the Control Room, right-click on a cue channel to open the context menu.

This applies the function only to this cue channel.

• If you want to apply the function all cue channels, click anywhere but on a cue

channel to open th

3. Select From selected mixer channels and select one of the functions.

e context menu.

Cue Mix Context Menu

Change Cue Sends Levels

Allows you to adjust multiple send levels at the

Use Current Mix Levels

Allows you to copy the fader levels of t
This sets all cue send levels for the selected tracks to the level of the main
channel fader. It also changes the cue send status to pre-fader, so that
changes in the main mix do not affect the cue sends.

Use Current Pan Settings

Allows you to copy pan information from the main mix to the cue sends of the
selected tracks. If th
output of the cue send is the sum of the left and right channels.

Enable Cue Sends

Allows you to activate the cue sends of the selected channels. To be able to

ar the cue mix for a cue channel, the cue sends must be enabled.

he

Disable Cue Sends

Allows you to disable the cue sends of the selected channels.

e cue send is mono, the pan setting is copied, but the

same time.

h

e selected tracks to the cue sends.

62

Working with the New Features

PROCEDURE

Loudness

Reset Cue Sends

Allows you to deactivate the cue sends, to change the send level of all
selected ch
any chan
individual cue channels, raise the level on that channel.

annels to 0 dB and to set the signal source to post-fader. This way,

ges to the main mix also change the cue mix. To raise the level of

Adjusting the Overall Cue Send Level

You can adjust multiple send levels at the same time for the cue send mix, keeping
the blend intact while lowering the overall volume. This is sometimes necessary,
because the levels in the main mix are often optimized for the loudest possible signal
level without clipping. This means that when you create a “more me” mix, you may
find that there is not enough headroom available in the cue send to raise levels
without introducing clipping.

1. In the MixConsole, select the channels that you want to modify.

Loudness

2. In the Control Room, right-click a cue channel to open the context menu.

3. Select From selected mixer channels >

4. Activate Rela

This way, you adjust the existing levels. By deactivating Relative Mode, all cue sends
are set to the same absolute level.

5. Adjust the level as necessary.

The level of all selected cue sends is adjusted by the set amount.

6. Click OK.

Nuendo allows you to measure the loudness in compliance with the loudness
recommendation R 128 of the European Broadcasting Union (EBU).
Measurements that correspond to this recommendation consider loudness,
loudness range, and maximum true peak level values.

tive Mode.

Change Cue Sends Levels.

Loudness Measurement

The following measurements are performed:

• Integrated Loudness

verage loudness that is measured over the whole track in LUFS (Loudness

A
Unit, re

According to the loudness recommendation R 128, audio should be
normaliz

ferenced to Full Scale).

ed at -23 LUFS (±1 LU).

63

Working with the New Features

Loudness

• Short-Term Loudness

• Momentary Loudness

Loudness Range

This measures the dynamic range over the whole title in LU (Loudness Units). It
reports the ratio between the loudest and the quietest non-silent sections. The
audio is divided into small blocks. Every second there is one audio block, and each
block lasts 3 seconds so that the analyzed blocks overlap.

The top 10 % of the quiet blocks and the top 5 % of the loud blocks are excluded
from
loudest and quietest remaining audio blocks. This measurement helps you to decide
if and how much compression or expansion you can or should apply to the audio.

Loudness that is measured every second on an audio block of 3 seconds. This
gives information about

the loudest audio passages.

Maximum value of all momentary loudness values that are measured every
100 ms in an audio range of 400 ms.

the final analysis. The calculated loudness range is the ratio between the

True Peaks

When a digital signal is converted to an analog signal, EBU R 128 recommends that
you rather measure an estimation of the real peaks instead of relying on digital
peaks. This avoids clipping and distortion.

Naming and Units

The EBU R 128 proposes the following naming and units conventions:

• A relative measurement, such as a value that is relative to a reference level:
LU as

• An absolute measurement, LUFS as Loudness Unit referenced to Full Scale.
1 LUFS can be un

Loudness Unit (1 LU is 1 dB).

derstood as 1 dB in the AES-17 scaling.

64

Working with the New Features

NAVIGATION PATH

Loudness

Loudness Meter

The loudness meter allows you to analyze, measure, and monitor the loudness of
your project in real-time during playback or mixing.

Devices > Control Room Mixer > Meter > Loudness > Configure Loudness
Settings

• The green triangle on the left side shows the integrated loudness value.

• The gray triangle on the right side shows the short-term loudness.

65

Working with the New Features

Loudness

The following parameters are available:

1) Measure Loudness

Allows you to activate the loudness measurement.

2) Switch between LU

A

llows you to switch the meter scale between LU (relative values) and LUFS

(absolut

e values).

3) Configure Loudness Setti

and LUFS

ngs

Opens a dialog with further loudness settings.

4) Re

set Loudness

A

llows you to reset the loudness measurement.

5) Momentary Max.

Shows the maximum of all measured momentary loudness values.

6) Short-Term

Shows the loudness that is measured over a duration of 3 s.

7) Integr

ated

Sh

ows the average loudness that is measured from start to stop. The period

measurement is shown in the Time display. The recommended value for the

of
integrated loudness is -23 LUFS. This absolute value is the r
the relative LU scale where -23 LUFS equals 0 LU.

eference point for

8) Ra

nge

Sh

ows the dynamic range of the audio that is

measured from start to stop.
This value helps you to decide how much dynamic compression you can
apply. The range that is recommended for highly dynamic audio, like film
music, for example, is 20 LU.

66

Working with the New Features

NAVIGATION PATH

Loudness

9) True Peak

Shows the true peak level of the audio. The maximum permit
in production is -1 dB.

10) Time

Shows the duration of integrated loudness measurement.

Loudness Settings

Devices > Control Room Mixer > Meter > Loudness > Configure Loudness
Settings

ted true peak level

The following parameters are available:

1) Select Preset

Allows you to create, load, and remove loudness presets.

2) Momentary Max.

Allows you to specify a reference value and a tolerance value for the maximum

nt

mome

ary loudness. If higher values are detected, the clipping indicator in

the loudness meter turns red.

3) Short-Term

Allows you to specify a reference value and a tolerance value for the

t-term loudness. If higher values are detected, the clipping indicator in the

r

sho
loudness meter turns red.

4) Integr

ated

A

llows you to specify a reference value and a tolerance value for the

grated loudness. If higher values are detected, the clipping indicator in the

inte
loudness meter turns red.

67

Working with the New Features

NAVIGATION PATH

Loudness

5) True Peak

Allows you to specify a reference value and a tolerance value for the true peak
level. If hi

gher values are detected, the clipping indicator in the loudness

meter turns red.

6) Switch between LUFS

7) Switch between EBU

8) Reset on Start

Loudness Track

The loudness track allows you to record the loudness of your whole project or of
specific sections.

Project > Add Track > Loudness

and LU

Allows
(relative values)

you to switch the meter scale between LUFS (absolute values) and LU

.

+9 Scale

and EBU +18 Scale

Allows you to switch the meter scale between EBU +9 and

ctivate this to reset all values on playback start.

A

EBU +18.

1) Loudness curve

Shows the loudness values that were detected during the loudness

urement.

meas

2) Re

ference loudness level

Sh

ows the EBU R-128 reference loudness level of -23 LUFS (0 LU).

3) True peaks

eed th

Shows the detected true peaks that exc

e reference value that you can
set up in the Loudness Settings dialog.

68

Working with the New Features

Loudness

Loudness Track Controls

1) Activate Loudness Calculation

2) Enabl

Allows you to activate the loudness calculation.

e

Recording of Loudness Curve

Allows you to record the loudness curve on the loudness track.

3) Switch Between LU and

LUFS

Allows you to switch the meter scale between LU (relative values) and LUFS
(absolut

4) Visibl

Allows

e values).

e Loudness - upper/lower limit

you to adjust the visible loudness. Click the values for the

lower limit, and drag the slider up or down.

5) Quick loudness analysis

Allows you to perform a quick loudness analysis of

the section that is

encompassed by the left and right locators.

6) Jump

to previous/next True

Allows you to jump to the previous/next

7) Clear Loudness Curv

e

Peak

true peak in the loudness curve.

Allows you to clear the loudness curve.

upper or

69

Working with the New Features

PROCEDURE

Loudness

Loudness Track Inspector

The loudness track inspector shows the most important values of the loudness
meter.

1) Short Term

Shows the loudness that is measured over a duration of 3 s.

2) Integr

3) Ra

4) True Peak

ated

Sh

ows the average loudness that is measured from start to stop. The period

of

measurement is shown in the Time display. The recommended value for the
integrated loudness is -23 LUFS. This absolute value is the r
the relative LU scale where -23 LUFS equals 0 LU.

nge

Shows
helps you to decide how much dynamic compression you can apply. The
range that is recommended for highly dynamic audio like film music is 20 LU.

Shows the true peak level of the audio. The maximum permi
in production is -1 dB.

the dynamic range of the audio measured

from start to stop. This value

eference point for

ted true peak level

t

Measuring Short-Term Loudness during Playback

You can record and display the short-term loudness during playback as a curve on
the loudness track.

REREQUISITE

P

You have added the loudness track to your project.

1. In the track list for the loudness track, activate Activate Loudness
Calculation.

By default, loudness calculation is deactivated for performance reasons.

70

Working with the New Features

PROCEDURE

Loudness

2. Activate Enable Recording of Loudness Curve.

3. Play back your project.

RESULT

The short-term loudness level is measured in real-time at the cursor position. The

rresponding loudness curve is written to the loudness track.

co

Measuring Short-Term Loudness Off-Line

You can record and display the short-term loudness for a defined section only on
the loudness track using off-line analysis.

REREQUISITE

P

You have added the loudness track to your project.

1. Set up the left and right locators to encompass the section that you want to
analyze.

2. In the track list for the loudness track, activate Activate Loudness
Calculation.

By default, loudness calculation is deactivated for performance reasons.

3. Click Quick Analysis.

RESULT

The loudness curve is created for the defined section and displayed on the
loudne

ss track.

Normalizing Loudness on Export

You can normalize your audio to the integrated loudness on export. However, this
is only suited for small level deviations and does not compensate for proper mixing.

71

Working with the New Features

Loudness

• Normalize to Integrated Loudness

Activate this to normalize your audio to the integrated loudness value

ified in the field to the right.

spec

• Max. Tr

ue Peak

Level

Activate this to limit the peak levels to the value specified in the field to the
right

.

72

About the New Plug-Ins

The new plug-ins are listed below.

Bass Manager

This plug-in allows you to achieve full-range sound even if your speakers or
your LF

REVelation

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

E are small.

New Plug-Ins

Magneto II

his distortion plug-in simulates the sa

T
on analog tape machines.

LoopMash FX

This plug-in is a live performance effect of
controlled by a MIDI keyboard.

Gate Improvements

This plug-in now features an additional Range par
amount of attenuation when the gate is closed. This new parameter is also
available in the Channel Strip module of the MixConsole.

HALion Sonic SE 2

This synth is the successor to HALion Sonic SE with a revised graphical user

rface and the new analogue synth module Trip.

inte

Groove Agent SE 4 (NEK only)

This drum sampler is the successor to Groove Agent ONE with enhanced
functionality. Its
your beats.

VST Connect SE 2

familiar MPC-style layout with 128 pads allows you to create

turation and compression of recordings

fering DJ effects that can be

ameter which defines the

This plug-in is the successor to VST Connect SE. It allows you to collaborate

other musicians around the globe and communicate peer-to-peer.

with
Record your performances with sample-accurate sync and use the video
feed, talkback, and chat functions.

73

New Plug-Ins

NOTE

About the New Plug-Ins

For detailed information, refer to the following separate documents: “Plug-in
Reference”, “HALion Sonic SE”, “Groove Agent SE”, “VST Connect SE”.

74

Steinberg Hub

PROCEDURE

When you start Nuendo, when you open projects, or when you create new projects
using the File menu, Steinberg Hub opens. Steinberg Hub keeps you up to date
with the latest information and assists you with organizing your projects.

Further Improvements

• If you do not want to make use of the fu
> Preferences > General and deactivate Use Steinberg Hub.

• To open the last project on startup, select File > Pr
activate Open last Project on Start Up.

nctions of Steinberg Hub, select File

efer

ences > General and

Drum Maps and VST3 Instruments (NEK only)

If you select a VST3 instrument such as Groove Agent SE 4 as an output for a MIDI
or instrument track, you can create a new drum map that contains the pitch and
name data that is provided by the instrument.

Creating a Drum Map for Groove Agent SE

You can create a drum map for MIDI or instrument tracks that are routed to Groove
Agent SE.

REREQUISITE

P

You have created a MIDI or instrument track and loaded Groove Agent SE.

1. In the Inspector for the track, open the Drum Maps pop-up menu, and select
Create Drum Map From Instrument.

2. In the Drum Maps pop-up menu, select Drum Map Setup.

75

Further Improvements

NOTE

PROCEDURE

NOTE

Track Quick Control Presets

3. In the Drum Maps list of the Drum Map Setup dialog, select Groove Agent
SE.

The sounds and settings of the Groove Agent SE drum map are displayed to the right.
The instruments and pitches correspond exactly those shown in Groove Agent SE.

If you select a MIDI part and select MIDI > Open Drum Editor, the drum
sound list shows exactly the same settings.

Track Quick Control Presets

For audio, instrument, MIDI, FX, and group tracks, you can now save and load your
own Quick Control assignments as presets or use the factory presets.

Saving/Loading Track Quick Control Assignments as Presets

1. In the Inspector for your track, open the Quick Controls section.

For instrument tracks, the track quick controls are set to the 8 default VST quick
controls of the loaded instrument by default.

2. Click Preset Management in the top right corner of the Inspector section
and select one of the presets.

The Track Quick Control assignment changes and gives you access to the channel
parameters.

You can also make your own assignments and save them as presets and
delete, rename, or reset the presets to the default assignments.

76

Further Improvements

PROCEDURE

NOTE

Color Management

Color Management

Coloring Tracks, Parts, or Events Manually

The Color tool on the Project window toolbar allows you to color each track, part,
or event individually.

1. In the Project window, do one of the following:

• To change the color of an event or part, select it.

• To change the color of a track, select the track and deselect all its events or

parts.

2. On the toolbar, select the Color tool, then click again, and select a color from
the pop-up menu.

The color is applied to the selected item. If you change the color of a track, the new
color is used for all events on the track and for the corresponding channel in the
MixConsole.

If you assign a different color to individual parts or events, they no longer
follow color changes of the track.

77

Further Improvements

PROCEDURE

Color Management

Resetting the Default Color

You can reset the color of a track, part, or event to the default color.

1. In the Project window, select the event or part that you want to reset to the
default color.

2. On the toolbar, select the Color tool, then click again, and select Default
Color from the pop-up menu.

Project Colors Dialog

The Project Colors dialog allows you to set up a different set of colors for items in
the Project window.

• To open the Project
window toolbar. Click again to open a pop-up menu and select Project

Colors.

Colors

dialog, select the Color tool in the Project

Color fields

Click a field to open a color selector pane t
color.

e fo

Click Options for th

Append New Color

Adds a new color button at the bottom of the color list.

llowing options.

78

hat allows you to specify a new

Further Improvements

PROCEDURE

Color Management

Insert New Color before Selection

Adds a new color button above the selected color button.

Remove Selected Color

Removes the selected color.

Reset Selected Color

Resets the selected color to the factory settings.

Increase/Reduce Intensity of all Colors

Increases or reduces the intensity of all colors.

Increase/Reduce Brightness of all Colors

Increases or reduces the brightness of all colors.

Save Current Set as Program Defaults

Saves the current set of colors as default.

Load Program Defaults to Current Set

Applies the default set of colors.

Reset Current Set to Factory Settings

Returns to the standard color palette.

Colorize Only Folder Track Controls

You can restrict the effect of the Colorize Track Control function to folder tracks
only. This is useful in projects with a large number of tracks and folder tracks.

1. Select File > Preferences > Event Display > Tracks.

2. Drag the Colorize Track Controls slider to the right.

3. Activate Colorize Only Folder Track Controls.

4. Click OK.

5. In the track list, select the folder

6. In the Proj

ect window toolbar, select the Color Tool and click again to select

track th

a color.

RESULT

Only the folder track controls are colorized.

79

at you want to colorize.

Further Improvements

NOTE

Project Logical Editor Improvements

Project Logical Editor Improvements

The Project Logical Editor has been expanded by additional parameters that allow
you to edit the visibility of tracks.

Automation tracks are only affected if they are open. The visibility of scale events
cannot be edited.

New Parameters

New options have been added to the Project Logical Editor.

•Select Edit > Process
visibility option from the menu.

If you create your own Project Logical Editor visibility pres
move them to the Visibility folder.

Media Type

For the filter target Medi
have been added.

Property

For the filter target Propert
Version have been added.

Track Operation

For the action target Track Operat
added. The available parameters are Enable, Disable, and Toggle.

Project Logical Editor > Visibility, and select a

a type, the parameters Video, Group, and Effect

y, the parameters Is Hidden and Has Track

Project Window Improvements

ets, you can also

ion, the operation Hide Track has been

The Project window toolbar has been expanded by additional tools.

New Project Window Tools

Deactivate All Listen States

Allows you to deactivate all listen states

simultaneously.

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Further Improvements

NAVIGATION PATH

MIDI Monitoring Improvements

Suspend All Read/Write Automation

Allows you to suspend all read or write automation.

Automation Follows Events

Activate this button if you want your automation events to follow automatically
when you move an event

or part on a track.

MIDI Monitoring Improvements

MIDI Record Preference

If you are recording MIDI data and monitor via an external MIDI sound generator, you
can activate a new MIDI record preference. This option prevents hearing doubled
notes on record-enabled tracks that have a VST instrument assigned.

Preferences > Record > MIDI

Deactivate MIDI Thru for Record Enable

Activate this option if you do not want record-enabled MIDI or instrument
tracks to echo incoming MID

I data.

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