100% found this document useful (1 vote)

400 views241 pages

Cubase Pro 11 Plug in Reference en

cubase 11

Uploaded by

Palanisamy Balasubramani

We take content rights seriously. If you suspect this is your content, claim it here.

Available Formats

Download as PDF, TXT or read online on Scribd

100% found this document useful (1 vote)

400 views241 pages

Cubase Pro 11 Plug in Reference en

cubase 11

Uploaded by

Palanisamy Balasubramani

We take content rights seriously. If you suspect this is your content, claim it here.

Available Formats

Download as PDF, TXT or read online on Scribd

You are on page 1/ 241

Plug-in Reference

The Steinberg Documentation Team: Cristina Bachmann, Heiko Bischoff, Lillie Harris, Christina Kaboth, Insa
Mingers, Matthias Obrecht, Sabine Pfeifer, Benjamin Schütte, Marita Sladek
Translation: Ability InterBusiness Solutions (AIBS), Moon Chen, Jérémie Dal Santo, Rosa Freitag, Josep Llodra
Grimalt, Vadim Kupriianov, Filippo Manfredi, Roland Münchow, Boris Rogowski, Sergey Tamarovsky
This document provides improved access for people who are blind or have low vision. Please note that due to the
complexity and number of images in this document, it is not possible to include text descriptions of images.
The information in this document is subject to change without notice and does not represent a commitment on
the part of Steinberg Media Technologies GmbH. The software described by this document is subject to a License
Agreement and may not be copied to other media except as specifically allowed in the License Agreement. No
part of this publication may be copied, reproduced, or otherwise transmitted or recorded, for any purpose,
without prior written permission by Steinberg Media Technologies GmbH. Registered licensees of the product
described herein may print one copy of this document for their personal use.
All product and company names are ™ or ® trademarks of their respective owners. For more information, please
visit www.steinberg.net/trademarks.
© Steinberg Media Technologies GmbH, 2020.
All rights reserved.
Cubase Pro_11.0.0_en-US_2020-11-11
Table of Contents

4 Included Effect Plug-ins

4 Ambisonics Plug-ins
4 Analyzer Plug-ins
25 Delay Plug-ins
42 Distortion Plug-ins
66 Dynamics Plug-ins
93 EQ Plug-ins
104 Filter Plug-ins
110 Mastering Plug-ins
110 Modulation Plug-ins
125 Network Plug-ins
126 Other Plug-ins
128 Pitch Shift Plug-ins
131 Reverb Plug-ins
146 Spatial + Panner Plug-ins
149 Surround Plug-ins
151 Tools Plug-ins
156 MIDI Effects
156 Arpache 5
158 Arpache SX
160 Auto LFO
161 Beat Designer
167 Chorder
171 Compressor
172 Context Gate
173 Density
174 MIDI Control
174 MIDI Echo
176 MIDI Modifiers
176 MIDI Monitor
177 Micro Tuner
178 Note to CC
178 Quantizer
179 StepDesigner
182 Track Control
185 Transformer
186 Included VST Instruments
186 Groove Agent SE
186 HALion Sonic SE
186 LoopMash
198 Mystic
210 Padshop
211 Prologue
226 Retrologue
227 Spector
240 Index

3
Cubase Pro 11.0.0
Included Effect Plug-ins

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

Ambisonics Plug-ins

VST AmbiConverter
VST AmbiConverter allows you to convert Ambisonics audio between Furse-Malham (FuMa) and
AmbiX format.

For a description of VST AmbiConverter, see the Operation Manual.

Analyzer Plug-ins

SuperVision
SuperVision is a professional tool suite for monitoring and analyzing your audio. The plug-in
comes with several different modules for level, spectral, phase, or waveform analysis. Its up to 9
module slots allow you to create custom layouts for better overview.

SuperVision features two different processing modes: Maximum Audio Performance and
Sample-Accurate Display. You can choose which mode to use for each module independently.

Toolbar
Pause Measurement

4
Cubase Pro 11.0.0
Included Effect Plug-ins
Analyzer Plug-ins

Pauses/Continues the measurement for the selected module. Alt/Opt -click this button
to pause/continue all modules at the same time.

NOTE

● You can also pause/continue the measurement for the selected module by right-
clicking it.
● If a module is paused, you can still adjust the graphical display that holds the last
measured values.
● For all modules that show a playback cursor, you can click in the paused display to
set the project cursor to this position.

Hold Current Values on Stop

If this button is activated, the last measured values remain in the display when
playback is stopped.

Module selector

Allows you to select a module for the selected slot.

Open Module Settings

Opens the Module Settings window. It provides the settings for the selected module.

Channel selector

Allows you to select which channels are displayed. The available channel configurations
depend on the channel configuration of the track and on the selected module.
Mixdown allows you to display the average value of all channels within the track.

NOTE

● The channel selector is only available for configurations with two or more
channels.
● If side-chain is activated, you can select between Main or Side-Chain channels.
Combined Main & Side-Chain views are also available for some modules.

Reset Module Values

Resets the measured values of the selected module. Alt/Opt -click to reset all modules
at the same time.

NOTE

You can also reset the measured values of a module by Ctrl/Cmd -clicking it.

Reset Module Values on Start

If this button is activated, all values are automatically reset when playback is started.

Split Horizontally

Splits the selected module slot horizontally.

5
Cubase Pro 11.0.0
Included Effect Plug-ins
Analyzer Plug-ins

NOTE

This button is not available if a module is maximized.

Split Vertically

Splits the selected module slot vertically.

NOTE

This button is not available if a module is maximized.

Module Slot Controls

Each module slot shows the following controls in the top right corner if you move the mouse
over it:

Remove module slot

Removes the module slot from the current plug-in layout.

Split horizontally

Splits the module slot horizontally.

Split vertically

Splits the module slot vertically.

You can maximize a module by double-clicking it. To downsize it, double-click it again or click the
standard view button .

In some modules, for example, Level, Loudness, or Time, you can use Ctrl/Cmd - S to copy
parameter values as text from the selected module to the clipboard for further use in other
applications.

RELATED LINKS
Module Settings Window on page 6
Signal Modules on page 7
Spectral Domain Modules on page 11
Phase Modules on page 15
Spatial Domain Modules on page 19
Waveform Modules on page 21
Other Modules on page 24

Module Settings Window

In the Module Settings window, you can make individual settings for the selected module.

If your layout shows more than one module, you can change the focus by clicking a module or
pressing Tab .

The settings on the Module Settings window toolbar are available for all modules:

Reset Settings

Resets all parameter settings to the default values of the selected module.

6
Cubase Pro 11.0.0
Included Effect Plug-ins
Analyzer Plug-ins

Maximum Audio Performance/Sample-Accurate Display

Sets the processing mode for the selected module.

If this button is activated, Maximum Audio Performance is selected. In this mode, the
plug-in has no impact on the audio performance, but the analysis might not be sample-
accurate.
If this button is deactivated, Sample-Accurate Display is selected. In this mode, no
audio sample gets lost for analysis, but the audio performance might be slightly
reduced.

NOTE

Sample-Accurate Display is not available for all modules.

Enable Warnings

If this button is activated, a red border around the affected module indicates that the
displayed analysis result might not be completely sample-accurate.

NOTE

This setting is only available in Maximum Audio Performance mode.

Force Horizontal Display

If this button is activated, the module is always displayed horizontally when you resize
it.

NOTE

This setting is not available for all modules.

Force Vertical Display

If this button is activated, the module is always displayed vertically when you resize it.

NOTE

This setting is not available for all modules.

For the specific settings of a module, see the corresponding module description.

RELATED LINKS
Signal Modules on page 7
Spectral Domain Modules on page 11
Phase Modules on page 15
Spatial Domain Modules on page 19
Waveform Modules on page 21
Other Modules on page 24

Signal Modules
The modules in this category allow you to visualize the level, loudness, or intelligibility of the
audio signal.

The following modules and module-specific settings are available:

7
Cubase Pro 11.0.0
Included Effect Plug-ins
Analyzer Plug-ins

Level
This module shows the level of your audio. It provides a multi-channel level meter and a
maximum level value display.

The following module-specific settings are available in the Module Settings window:

Scale
Allows you to select a scale according to different broadcast standards (Internal,
Digital, DIN, EBU, British, Nordic, K-20, K-14, K-12, +3 dB Digital, +6 dB Digital, or
+12 dbB Digital).

NOTE

You can customize the appearance of the meter for all scales individually in the
Preferences dialog (Metering—Appearance page).

Peak Hold
Specifies for how long the peak levels are held in the display.

Peak Fallback
Sets the speed of release for the level meters and peak indicators.

NOTE

● Alternatively, you can move the mouse pointer over the selected module, hold
Ctrl/Cmd , and use the mouse wheel to adjust this parameter.
● If this control is turned all the way to the left, the peak indicators are disabled.

Threshold
Sets a threshold level below which the display is masked.

NOTE

Alternatively, you can move the mouse pointer over the selected module and use the
mouse wheel to adjust this parameter.

Offset
Sets the offset between measured and displayed value in dB.
This parameter is only available for the DIN, EBU, British, and Nordic scale.

Clipping
Sets the clipping value for the Internal scale.

Minimum
Sets the minimum value for the Internal scale.

8
Cubase Pro 11.0.0
Included Effect Plug-ins
Analyzer Plug-ins

Maximum
Sets the maximum value for the Internal scale.

Color
Sets the color of the meters. You can choose between the Scale color and the Track
color.

RMS AES17
Shows the level in accordance with AES17 (RMS + 3 dB).

RMS Resolution
Sets the RMS resolution for the level display in milliseconds.

Max. Value
Sets the measurement mode for the maximum level value display. The following
modes are available:
● True Peak shows estimated real peak value for each channel.
● Peak Max. shows maximum sample value for each channel.
● RMS Max. shows the maximum RMS value for each channel.
● RMS Max. + True Peak shows the highest maximum RMS and the highest
estimated real peak value of all channels.
● RMS Max. + Peak Max. shows the highest maximum RMS and the highest
maximum sample value of all channels.

Loudness
This module shows the loudness of your audio in LU (Loudness Units) or LUFS (Loudness Units,
referenced to Full Scale) according to EBU R 128.

TP (True Peak)
Shows the maximum true peak level in dB.

I (Integrated)
Shows the integrated loudness value. This is the average loudness value that is
measured over the whole audio range in LU or LUFS.

S (Short-Term)
Shows the short-term loudness value that is measured every second on an audio block
of 3 seconds in LU or LUFS. This gives information about the loudest audio passages.

M Max. (Momentary Max.)

Shows the maximum value of all momentary loudness values that are measured every
100 ms in an audio range of 400 ms in LU or LUFS.

R (Range)
Shows the loudness range (LRA) that is measured over the whole audio range in LU.
The loudness range reports the ratio between the loudest and the quietest non-silent
sections. The audio is divided into small blocks. There is one audio block every second

9
Cubase Pro 11.0.0
Included Effect Plug-ins
Analyzer Plug-ins

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 the final analysis. The
calculated loudness range is the ratio between the loudest and quietest remaining
audio blocks. This measurement helps you to decide how much compression or
expansion must be applied to the audio.
An asterisk (*) after a loudness range value indicates that less than 1 minute of audio
was analyzed.
Min. shows the minimum loudness range value in LU. Max. shows the maximum
loudness range value in LU.

NOTE

EBU R 128 does not recommend loudness range measurement for audio shorter than
1 minute due to too few data points.

Time
Shows the overall duration of the loudness measurement.

The following module-specific settings are available in the Module Settings window:

Unit
Allows you to switch the meter scale between LUFS (absolute values) and LU (relative
values).

Scale
Allows you to switch the meter between the EBU +9 scale and the EBU +18 scale.

Ref. Integrated
Sets a reference value for the integrated loudness. If higher values are detected, the
loudness meter indicates clipping.

Tol. Integrated
Sets a tolerance value for the integrated loudness.

Ref. True Peak

Sets a reference value for the true peak level. If higher values are detected, the
loudness meter indicates clipping.

Tol. True Peak

Sets a tolerance value for the true peak level.

Ref. Short-Term
Sets a reference value for the short-term loudness. If higher values are detected, the
loudness meter indicates clipping.

Tol. Short-Term
Sets a tolerance value for the short-term loudness.

Ref. Momentary
Sets a reference value for the maximum momentary loudness. If higher values are
detected, the loudness meter indicates clipping. The loudness meter indicates clipping,
when the integrated reference value is reached.

Tol. Momentary
Sets a tolerance value for the maximum momentary loudness.

Ref. Range
Sets a reference value for the loudness range. If higher values are detected, the
loudness meter indicates clipping.

10
Cubase Pro 11.0.0
Included Effect Plug-ins
Analyzer Plug-ins

Tol. Range
Sets a tolerance value for the loudness range.

Spectral Domain Modules

The modules in this category allow you to visualize spectral information about the audio signal.

The following modules and module-specific settings are available:

Spectrum Curve
This module uses FFT (Fast Fourier Transform) techniques to show a frequency graph, providing
a precise and detailed real-time frequency analysis.

The display shows the frequency spectrum as a linear graph. If you move the mouse pointer over
the display, a peak curve is shown in orange. Move the mouse pointer over the curves to show
the local maximum values in Hz. Press Ctrl/Cmd to show the maximum values in dB or press
Shift to show their pitch.

When using side-chaining, this module also allows you to detect the regions in your main signal
that are acoustically masked by the side-chain signal.

NOTE

In addition to the signal of the track, the display can show the signal of a side-chain input. For
this to work, you must select a Main & Side-Chain view from the channel selector. The side-chain
signal is then shown in white.

The following module-specific settings are available in the Module Settings window:

Time Smooth
Smoothes the temporal display of the spectrum curve.

NOTE

Alternatively, you can move the mouse pointer over the selected module, hold Alt , and
use the mouse wheel to adjust this parameter.

Peak Fallback
Sets the speed of release for the spectrum curve and the peak curve.

NOTE

11
Cubase Pro 11.0.0
Included Effect Plug-ins
Analyzer Plug-ins

Freq. Smooth
Smoothes the frequency display of the spectrum curve.

NOTE

Alternatively, you can move the mouse pointer over the selected module and use the
mouse wheel to adjust this parameter.

FFT Window
Sets the block size of the window that is used for the analysis. If Multi is selected, 3
different block sizes are used at the same time.

Minimum
Sets the minimum value of the scale.

Maximum
Sets the maximum value of the scale.

Slope
Adds a slope to the frequency spectrum.

Masking
If this button is activated, frequency ranges that are affected by a side-chain signal are
displayed.

NOTE

For this to work, you must activate side-chaining and select a Main + Side-Chain
channel in the channel selector on the toolbar.

Spectrum Bar
This module shows a graphical representation of the frequency spectrum, analyzed into separate
frequency bands, represented as vertical bars.

Move the mouse pointer over a bar to show the frequency range in Hz. Press Ctrl/Cmd to show
the current value in dB or press Shift to show its pitch range.

The following module-specific settings are available in the Module Settings window:

Time Smooth
Smoothes the temporal display of the spectrum curve.

NOTE

Alternatively, you can move the mouse pointer over the selected module, hold Alt , and
use the mouse wheel to adjust this parameter.

12
Cubase Pro 11.0.0
Included Effect Plug-ins
Analyzer Plug-ins

Peak Fallback
Sets the speed of release for the level meters and peak indicators.

NOTE

Threshold
Sets a threshold level below which the display is masked.

NOTE

Alternatively, you can move the mouse pointer over the selected module and use the
mouse wheel to adjust this parameter.

Bands/Oct.
Sets the number of bands per octave.

Minimum
Sets the minimum value of the scale.

Maximum
Sets the maximum value of the scale.

Slope
Adds a slope to the frequency spectrum.

Spectrum Intensity
This module represents the frequency magnitude of the audio. The more intensely a bar is
colored, the higher the magnitude at this frequency.

The following module-specific settings are available in the Module Settings window:

Time Smooth
Smoothes the temporal display of the spectrum curve.

NOTE

Alternatively, you can move the mouse pointer over the selected module, hold Alt , and
use the mouse wheel to adjust this parameter.

FFT Window
Sets the block size of the window that is used for the analysis. If Multi is selected, 3
different block sizes are used at the same time.

13
Cubase Pro 11.0.0
Included Effect Plug-ins
Analyzer Plug-ins

Minimum
Sets the minimum value of the scale.

Maximum
Sets the maximum value of the scale.

Slope
Adds a slope to the frequency spectrum.

Spectrogram
This module shows the last seconds of the audio stream. This allows you to detect disturbances
in the spectrogram and to monitor the noise level and frequencies, for example.

NOTE

This module runs in Maximum Audio Performance mode.

The following module-specific settings are available in the Module Settings window:

FFT Window
Sets the block size of the window that is used for the analysis. This allows you to adjust
the trade-off between temporal resolution and frequency resolution. If you specify a
higher value, more frequencies are analyzed but they are located less accurately in the
time domain.

Duration
Sets the duration of the audio stream that is displayed.

NOTE

Alternatively, you can move the mouse pointer over the selected module, hold Ctrl/
Cmd , and use the mouse wheel to adjust this parameter.

Color
Allows you to choose a color scheme.

Minimum
Sets the minimum value of the scale.

Maximum
Sets the maximum value of the scale.

NOTE

Alternatively, you can move the mouse pointer over the selected module and use the mouse
wheel to adjust the Minimum and Maximum parameters simultaneously.

14
Cubase Pro 11.0.0
Included Effect Plug-ins
Analyzer Plug-ins

Chromagram
This module displays a chromagram of your audio.

NOTE

This module runs in Maximum Audio Performance mode.

The following module-specific settings are available in the Module Settings window:

Duration
Sets the duration of the audio stream that is displayed.

NOTE

Alternatively, you can move the mouse pointer over the selected module, hold Ctrl/
Cmd , and use the mouse wheel to adjust this parameter.

Color
Allows you to choose a color scheme.

Minimum
Sets the minimum value of the scale.

Maximum
Sets the maximum value of the scale.

NOTE

Alternatively, you can move the mouse pointer over the selected module and use the mouse
wheel to adjust the Minimum and Maximum parameters simultaneously.

Phase Modules
The modules in this category allow you to visualize the phase or directional relationship between
the channels of the audio signal.

The following modules and module-specific settings are available:

Phasescope
This module uses a vectorscope display to show the phase and amplitude relationship between
the left and right stereo channels. This provides you with directional information about a stereo
audio signal.

15
Cubase Pro 11.0.0
Included Effect Plug-ins
Analyzer Plug-ins

Hold Shift and move the mouse pointer over the display to measure the angle.

NOTE

The following module-specific settings are available in the Module Settings window:

Zoom
Allows you to zoom in the graphical display.

NOTE

Alternatively, you can move the mouse pointer over the selected module and use the
mouse wheel to adjust this parameter.

Auto Zoom
If this button is activated, the zoom factor is adapted automatically.

Mode
Sets the display mode. The following modes are available: Lines, Dots, Envelope.

Peak Fallback
Sets the speed of release for the peak envelope in Envelope mode.

NOTE

If this control is turned all the way to the left, the peak envelope is disabled.

Scale
Activates/Deactivates the axis labeling.

NOTE

This option is only available if Auto Zoom is deactivated.

Panorama
This module uses a polar coordinate display to show the phase and amplitude relationship
between the left and right stereo channels. This provides you with directional information about
a stereo audio signal.

16
Cubase Pro 11.0.0
Included Effect Plug-ins
Analyzer Plug-ins

NOTE

The following module-specific settings are available in the Module Settings window:

Zoom
Allows you to zoom in the graphical display.

NOTE

Alternatively, you can move the mouse pointer over the selected module and use the
mouse wheel to adjust this parameter.

Auto Zoom
If this button is activated, the zoom factor is adapted automatically.

Mode
Sets the display mode. The following modes are available: Lines, Dots, Envelope.

Peak Fallback
Sets the speed of release for the peak envelope in Envelope mode.

NOTE

If this control is turned all the way to the left, the peak envelope is disabled.

Scale
Activates/Deactivates the axis labeling.

NOTE

This option is only available if Auto Zoom is deactivated.

Multipanorama
This module provides you with frequency-dependent directional information about a stereo
audio signal.

17
Cubase Pro 11.0.0
Included Effect Plug-ins
Analyzer Plug-ins

The following module-specific settings are available in the Module Settings window:

Time Smooth
Sets the time for which an energy impulse is displayed.

Bands/Oct.
Sets the number of bands per octave.

Color
Allows you to choose a color scheme.

Correlation
This module visualizes the phase-correlation between the left and right channel. This allows you,
for example, to check the mono compatibility of a stereo recording.

The following module-specific settings are available in the Module Settings window:

Time Smooth
Smoothes the temporal display of the correlation.

NOTE

Alternatively, you can move the mouse pointer over the selected module, hold Alt , and
use the mouse wheel to adjust this parameter

Multicorrelation
This module visualizes the phase-correlation between the left and right channel for different
frequency bands.

18
Cubase Pro 11.0.0
Included Effect Plug-ins
Analyzer Plug-ins

Move the mouse pointer over a bar to display its frequency range in Hz. Hold Ctrl/Cmd to
display its current value. Hold Shift to display its pitch range.

The following module-specific settings are available in the Module Settings window:

Time Smooth
Smoothes the temporal display of the correlation.

NOTE

Alternatively, you can move the mouse pointer over the selected module, hold Alt , and
use the mouse wheel to adjust this parameter

Bands/Oct.
Sets the number of bands per octave.

Spatial Domain Modules

The modules in this category allow you to visualize the spatial dimension of the audio signal.

The following modules and module-specific settings are available:

Surround
This module visualizes the level and correlation of the different speakers in a surround speaker
setup.

If all channels have the same level, a perfect circle is shown in the center of the display.

NOTE

This module is only available for channel-based surround configurations. Speaker configurations
with top speakers and Ambisonics channels are not supported.

The following module-specific settings are available in the Module Settings window:

19
Cubase Pro 11.0.0
Included Effect Plug-ins
Analyzer Plug-ins

Zoom
Allows you to zoom in the graphical display.

NOTE

Alternatively, you can move the mouse pointer over the selected module and use the
mouse wheel to adjust this parameter.

Peak Fallback
Sets the speed of release for the peak envelope.

NOTE

Scale
Activates/Deactivates the axis labeling for the correlation display.

Ambisonics
This module allows you to visualize the energy distribution of an Ambisonics signal.

A plane representation of the spherical Ambisonics sound field shows a grid of hexagons. The
color of a hexagon indicates the RMS level at this position. A filter allows you to smooth the
visualization.

NOTE

This module is only available for Ambisonics channel configurations.

The following module-specific settings are available in the Module Settings window:

Attack
Sets the attack time of the smoothing filter.

Release
Sets the release time of the smoothing filter.

Minimum
Sets the minimum value of the signal intensity scale.

Maximum
Sets the maximum value of the signal intensity scale.

20
Cubase Pro 11.0.0
Included Effect Plug-ins
Analyzer Plug-ins

Threshold
Sets the minimum signal level that is displayed. This value is indicated by the lower
triangle in the color legend on the right. If you change this value, the Fade Range
value is adjusted accordingly.

Fade Range
Sets the level at which a hexagon is displayed fully opaque. This value is indicated by
the upper triangle in the color legend on the right.

Color
Allows you to choose a color scheme.

Resolution
Sets the resolution of the grid.

Waveform Modules
The modules in this category allow you to visualize the waveform of the audio signal.

The following modules and module-specific settings are available:

Oscilloscope
This module shows a highly magnified view of the waveform.

NOTE

The following module-specific settings are available in the Module Settings window:

Zoom
Allows you to zoom in the graphical display by adjusting the amplitude.

NOTE

Alternatively, you can move the mouse pointer over the selected module, hold Alt/
Opt , and use the mouse wheel to adjust this parameter.

Frequency
Allows you to zoom in the graphical display by adjusting the frequency.

21
Cubase Pro 11.0.0
Included Effect Plug-ins
Analyzer Plug-ins

NOTE

Alternatively, you can move the mouse pointer over the selected module, hold Ctrl/
Cmd , and use the mouse wheel to adjust this parameter.

Trigger
Sets the channel that is used to synchronize the audio signal.

NOTE

Alternatively, you can click the waveform of the corresponding channel.

Scale
Activates/Deactivates the axis labeling.

NOTE

This option is only available if Auto Zoom is deactivated.

Phase
Allows you to shift the zero-crossing position.

Wavescope
This module displays the real-time waveform of the audio signal.

Move the mouse pointer over a waveform position to display the corresponding project time.

NOTE

The following module-specific settings are available in the Module Settings window:

Zoom
Allows you to zoom in the graphical display.

NOTE

Alternatively, you can move the mouse pointer over the selected module and use the
mouse wheel to adjust this parameter.

Duration
Sets the duration of the audio stream that is displayed.

22
Cubase Pro 11.0.0
Included Effect Plug-ins
Analyzer Plug-ins

NOTE

Alternatively, you can move the mouse pointer over the selected module, hold Ctrl/
Cmd , and use the mouse wheel to adjust this parameter.

Tempo Sync
If this button is activated, you can set Duration in beats.

NOTE

The equivalent duration is limited to a minimum of 0.5 s and a maximum of 30 s.

Scale
Activates/Deactivates the axis labeling.

NOTE

This option is only available if Auto Zoom is deactivated.

Station. Cursor
If this button is activated, the waveform moves continuously under the stationary
cursor. If this button is deactivated, the waveform is refreshed when the cursor moves
over it.

Wavecircle
This module displays the real-time waveform of the audio signal as a circle.

Move the mouse pointer over a waveform position to display the corresponding project time.

NOTE

The following module-specific settings are available in the Module Settings window:

Zoom
Allows you to zoom in the graphical display.

NOTE

Alternatively, you can move the mouse pointer over the selected module and use the
mouse wheel to adjust this parameter.

23
Cubase Pro 11.0.0
Included Effect Plug-ins
Analyzer Plug-ins

Duration
Sets the duration of the audio stream that is displayed.

NOTE

Alternatively, you can move the mouse pointer over the selected module, hold Ctrl/
Cmd , and use the mouse wheel to adjust this parameter.

Tempo Sync
If this button is activated, you can set Duration in beats.

NOTE

The equivalent duration is limited to a minimum of 0.5 s and a maximum of 30 s.

Reverse
Changes the rotation direction.

Station. Cursor
If this button is activated, the waveform moves continuously under the stationary
cursor. If this button is deactivated, the waveform is refreshed when the cursor moves
over it.

Other Modules
This category provides a time display.

Time
This module shows the current time position of the project cursor.

NOTE

If the project cursor is located outside the locator range, the color of the time display changes.

The following module-specific settings are available in the Module Settings window:

Mode
Allows you to select one of the following display modes: Time, Sample, Beats, or
Timecode.

24
Cubase Pro 11.0.0
Included Effect Plug-ins
Delay Plug-ins

Delay Plug-ins

ModMachine
ModMachine combines delay modulation and filter modulation. Frequency and resonance of the
filter are modulated by an LFO or can be set manually. An additional Drive parameter allows for
distortion effects.

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

Rate
If Tempo Sync is activated, Rate allows you to specify the base note value for tempo-
syncing the effect (1/1 to 1/32, straight, triplet, or dotted).
If Tempo Sync is deactivated, the modulation speed can be set freely with the Rate
dial.

Tempo Sync (Delay Modulation)

Activates/Deactivates tempo synchronization for the Rate parameter.

Width
Sets the amount of delay modulation. This allows you to create a vibrato or chorus-like
effect.

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

25
Cubase Pro 11.0.0
Included Effect Plug-ins
Delay Plug-ins

Tempo Sync (Delay)

Activates/Deactivates tempo sync for the Delay parameter.

Feedback
Sets the amount of the signal that is sent back into the delay input. The higher this
value, the higher the number of repeats.

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

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

Graphical display
Functional diagram
Shows the signal path, depending on the settings for Filter Position and Filter Type.

Filter Position
Allows you to select the filter position. Loop places the filter in the feedback loop of the
delay. Output places it in the output path of the effect, after the Drive and Feedback
parameters.

Filter Type
Allows you to select a filter type. You can choose between a Low-Pass, Band-Pass, and
High-Pass filter.

Filter
LFO/Manual (Frequency)
Toggles between LFO and Manual mode. In LFO mode, you can define the modulation
rate or sync it to the project tempo. In Manual mode, you can set the frequency
manually.

Speed (Frequency)
Sets the speed of the filter frequency LFO modulation. If tempo sync is activated, this
parameter sets the base note value for synchronizing the modulation to the tempo of
the host application.
If tempo sync is deactivated, the speed can be set freely with the Speed knob.

Tempo Sync (Frequency)

Activates/Deactivates tempo sync for the Speed parameter. This parameter is only
available in LFO mode.

Low Range/High Range (Frequency)

Set the range of the filter frequency modulation. These parameters are only available
in LFO mode.

Frequency
Sets the cutoff frequency for the filter. This parameter is only available in Manual
mode.

Spatial (Frequency)
Sets an offset between the channels to create a stereo panorama effect for the filter
frequency modulation. Turn clockwise for a more pronounced stereo effect.

26
Cubase Pro 11.0.0
Included Effect Plug-ins
Delay Plug-ins

LFO/Manual (Q-Factor)
Toggles between LFO and Manual mode. In LFO mode, you can define the modulation
rate or sync it to the project tempo. In Manual mode, you can set the resonance
manually.

Speed (Q-Factor)
Sets the speed of the filter resonance LFO modulation. If tempo sync is activated, this
parameter sets the base note value for tempo syncing the modulation.
If tempo sync is deactivated, the speed can be set freely with the Speed knob.

Tempo Sync (Q-Factor)

Activates/Deactivates tempo sync for the Speed parameter.

Low Range/High Range (Q-Factor)

Set the range of the filter resonance modulation. These parameters are only available
in LFO mode.

Q-Factor
Sets the resonance of the filter. This parameter is only available in Manual mode.

Spatial (Q-Factor)
Sets an offset between the channels to create a stereo panorama effect for the filter
resonance modulation. Turn clockwise for a more pronounced stereo effect.

MonoDelay
This is a mono delay effect. The delay line uses tempo-based or freely specified delay time
settings.

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

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

Delay
Sets the delay time in milliseconds.

Sync
Activates/Deactivates tempo sync.

Feedback
Sets the amount of the signal that is sent back into the delay input. The higher this
value, the higher the number of repeats.

27
Cubase Pro 11.0.0
Included Effect Plug-ins
Delay Plug-ins

NOTE

This plug-in supports external side-chaining. You can use the side-chain input to control the delay
from another signal source. If the side-chain signal exceeds the threshold, the delay repeats are
silenced. If the signal drops below the threshold, the delay repeats reappear. For a description of
how to set up side-chain routing, see the Operation Manual.

MultiTap Delay
MultiTap Delay is a versatile tap effect delay with up to 8 tap repeats that allows you to create
and edit taps manually, to create taps by clicking a rhythm, or to create random taps. You can set
up separate effect chains for the delay loop, for delay taps, and for the overall delay output, with
each chain containing up to 6 different effects.

The plug-in offers predefined sound characters that you can freely customize. The delay line uses
either tempo-based or freely specified delay time settings. The integrated ducker attenuates the
delay output depending on the input signal level, which keeps the delayed signal rather dry
during loud or intensely played passages.

NOTE

This plug-in supports external side-chaining. For a description of how to set up side-chain
routing, see the Operation Manual.

28
Cubase Pro 11.0.0
Included Effect Plug-ins
Delay Plug-ins

Delay Character section

This section allows you to shape the overall sound of the delay. You can choose between 4
predefined sound characters and adjust their parameters to your liking.

Show/Hide Delay Character Section

Shows/Hides this section.

Character pop-up menu

Allows you to choose the general delay character. Digital Modern, Digital Vintage,
Tape, and Crazy character are available. Modifying parameters in this section sets the
delay character to Custom.

Saturation
Sets the amount of saturation. This effect is inserted into the delay loop, which means
that the saturation of the signal is increased with each repeat.

Freq
Sets the frequency of the delay modulation.

29
Cubase Pro 11.0.0
Included Effect Plug-ins
Delay Plug-ins

Width
Sets the intensity of the delay modulation. If this value is set to 0, the signal is not
modulated. Activating Extreme Modulation increases the modulation to such an
extent that drastic variations in tape speed become audible.

Sample Rate
Sets the ratio to which the audio sample is decimated. Lower sample rates reduce the
high frequency content and sound quality. If no button is activated, no downsampling
occurs.

Damping
Sets the amount of high-frequency damping in the feedback loop.

Low-Cut
Sets the frequency below which low-frequency damping occurs.

High-Cut
Sets the frequency above which high-frequency damping occurs.

Main section
This section contains the general delay parameters and settings, and allows you to add and edit
the delay taps.

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

Sync
Activates/Deactivates tempo sync.

Lock/Unlock Delay Value and Number of Taps

Locks/Unlocks the values of the Delay and the Taps parameters when loading presets.

Erase Delay Line

Erases the delay line.

Feedback
Sets the amount of the signal that is sent back into the delay input. The higher this
value, the higher the number of repeats.

Taps display
Allows you to move taps by dragging their handles and to delete them by double-
clicking.
● The Level tab allows you to set the level of all taps individually.
● The Panorama tab allows you to pan the taps individually in the stereo panorama.

30
Cubase Pro 11.0.0
Included Effect Plug-ins
Delay Plug-ins

● The Tap Parameters tab allows you to adjust the parameters of the selected effect
module in the Tap Effects section. The pop-up menus provide direct access to the
effect modules and their parameters.
● Spread Taps Evenly for Editing allows easier editing of taps if they are located
very close to each other.

Grid
Sets the quantize grid. Taps are quantized to the grid when added or moved.

NOTE

If you hold Shift , you can move taps freely even if a grid is set.

Activate/Deactivate Tapping Mode

Activates/Deactivates tapping mode so that you can click the Tap Rhythm button to
create taps.

Tap Rhythm
Allows you to create taps by clicking a rhythm with the left mouse button.

Quantize
Quantizes all taps to the grid.

Randomize
Sets a random number of taps and tap parameter settings. The Random Taps Options
pop-up menu allows you to specify the minimum and maximum number of taps, the
timing, the panning range, and the level range of the random function.

Taps
Sets the number of taps.

Link/Unlink Taps
Allows you to move all taps simultaneously in the taps display.

Reset Taps
Resets the number of taps and all tap parameters to the default.

Output meter
Shows the level of the output signal.

Output
Adjusts the overall output level.

Ducker
This effect attenuates the delay output depending on the input signal level. If the level
of the input signal is high, the effect signal is lowered, or ducked. If the level of the
input signal is low, the effect signal is raised.
● FB suppresses feedback when the delay signal is ducked.
● DL erases the delay line one time as soon as the ducking of the delay signal starts.
● Amount sets the amount of level reduction that is applied to the delay output. The
meter to the right shows the current amount of gain reduction.
● Release sets the time after which the effect signal returns to the original level.

NOTE

This plug-in supports external side-chaining. You can use the side-chain input to
control the ducking effect from another signal source. If the side-chain signal exceeds
the threshold, the delay repeats are ducked. If the signal drops below the threshold,

31
Cubase Pro 11.0.0
Included Effect Plug-ins
Delay Plug-ins

the delay repeats reappear. For a description of how to set up side-chain routing, see
the Operation Manual.

Play Sample Sound

Plays back a sound sample which allows you to quickly valuate the result of the current
plug-in parameter settings.

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

Lock/Unlock Mix Value

Locks the value of the Mix parameter in the main section when loading presets.

Effects sections
These sections allow you to add, edit, and remove loop, tap, and post effects. You can create
effect chains by adding up to 6 different effect modules from 14 effects available overall. You can
modify the order of the effects in the chain by dragging the modules.

● Effects in the Loop Effects section feed the output signal back into the delay input, allowing
for a continuously increasing effect through the loop effect chain.
● Effects in the Tap Effects section process the output signal of each delay tap. You can
activate/deactivate each effect and set individual parameters for any single tap.
● Effects in the Post Effects section affect the overall output signal of the plug-in.

Bypass

Bypasses the effect chain in the corresponding effects section.

Mix
Sets the balance between dry signal and wet signal for the corresponding effect chain.

Loop Effects/Tap Effects/Post Effects

Shows/Hides the corresponding effects section. The section is highlighted if at least
one effect module has been added.

Show/Hide Functional Diagram

32
Cubase Pro 11.0.0
Included Effect Plug-ins
Delay Plug-ins

Shows/Hides a functional diagram of the signal flow for Loop Effects, Tap Effects, or
Post Effects in the taps display.

Add Module
Allows you to add modules to the effect chain of the corresponding section.

Tap Effects Options

Opens the options panel for tap effects. Suspend Effect When Disabled stops effects
from being processed when they are bypassed or deactivated. This reduces the
processing load.

IMPORTANT

If this option is activated, crackles may occur when bypassing or activating/

deactivating an effect.

Parameter Link (only available in the Tap Effects section)

Links the parameters of the same type in all taps. This allows you to edit parameter
values of all taps in a module simultaneously. Two link modes are available:
● If Absolute Mode is activated and you edit a parameter value of one tap, the
corresponding parameter values of the other taps are set to the same value.
● If Relative Mode is activated and you edit a parameter value of one tap, the
relation of the corresponding parameter values of the other taps remains the
same.

Tap 1-8 (only available in the Tap Effects section)

Allows you to select a tap for editing the effect parameters.

Activate/Deactivate Effect (only available in the Tap Effects section)

Allows you to activate/deactivate the effect for the tap that is selected in the tap
display.

General Effect Settings

The following settings are available for each module:

Bypass

Bypasses the module. This allows you to compare the sound of the unprocessed signal
to that of the processed signal.

Solo

Solos the module. Only one module can be soloed at a time.

Remove

33
Cubase Pro 11.0.0
Included Effect Plug-ins
Delay Plug-ins

Removes the module from the module chain.

The following effect modules are available:

Chorus
This is a single-stage chorus effect that doubles the input signal with a slightly detuned version.

Rate
If Tempo Sync is activated, Rate allows you to specify the base note value for
synchronizing the modulation sweep to the tempo of the host application (1/1 to 1/32,
straight, triplet, or dotted).
If Tempo Sync is deactivated, the sweep rate can be set freely with the Rate dial.

Sync
Activates/Deactivates tempo sync.

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

Tone
Changes the tonal characteristic of the output signal.

Flanger
This is a classic flanger effect.

Rate
If Tempo Sync is activated, Rate allows you to specify the base note value for
synchronizing the flanger sweep to the tempo of the host application (1/1 to 1/32,
straight, triplet, or dotted).
If Tempo Sync is deactivated, the sweep rate can be set freely with the Rate dial.

Sync
Activates/Deactivates tempo sync.

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

Tone
Changes the tonal characteristic of the output signal.

34
Cubase Pro 11.0.0
Included Effect Plug-ins
Delay Plug-ins

Phaser
This is a classic phasing effect.

Rate
If Tempo Sync is activated, Rate allows you to specify the base note value for tempo-
syncing the phaser sweep (1/1 to 1/32, straight, triplet, or dotted).
If Tempo Sync is deactivated, the sweep rate can be set freely with the Rate dial.

Sync
Activates/Deactivates tempo sync.

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

Tone
Changes the tonal characteristic of the output signal.

Vibrato
This is a pitch modulation effect.

Sync
Activates/Deactivates tempo sync.

Depth
Sets the intensity of the pitch modulation.

Spatial
Adds a stereo effect to the modulation.

Envelope Filter
This is a classic envelope filter that allows for auto-wah effects.

35
Cubase Pro 11.0.0
Included Effect Plug-ins
Delay Plug-ins

Range
Determines the frequency range of the filter. Sweep Downwards reverses the filter
sweep.

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

Sensitivity
Determines how sensitively the effect reacts to the instrument level.

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

Release
Sets the gain of the release phase of the signal.

Type
Sets the filter type. Low-pass (LP), high-pass (HP), band-pass (BP), and Notch filter are
available.

Filter
This is a filter modulation effect. The frequency of the filter is modulated by an LFO or you can set
it manually.

LFO/Manual buttons
Allows you to select LFO and Manual mode. In LFO mode, you can define the
modulation rate or sync it to the project tempo. In Manual mode, you can set the
frequency manually.

Freq
Sets the filter frequency. This parameter is only available in Manual mode.

LFO-Freq
Sets the filter frequency of the LFO modulation. If Tempo Sync is activated, this
parameter sets the base note value for synchronizing the modulation to the tempo of
the host application.
If Tempo Sync is deactivated, you can set the frequency freely.
This parameter is only available in LFO mode.

Tempo Sync
Activates/Deactivates tempo sync for the LFO-Freq parameter. This parameter is only
available in LFO mode.

36
Cubase Pro 11.0.0
Included Effect Plug-ins
Delay Plug-ins

Q-Factor
Sets the resonance of the filter.

Type
Sets the filter type. Low-pass (LP), high-pass (HP), band-pass (BP), and Notch filter are
available.

Low/High
Set the range of the filter frequency modulation.

Bit Crusher
This effect uses bit reduction to decimate and truncate the input audio signal to get a noisy,
distorted sound.

Bits (0 to 24 bits)
Defines the bit resolution. A setting of 24 gives the highest audio quality, while a
setting of 1 creates mostly noise.

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

Mode
Allows you to select one of the four operating modes. In each mode, the effect sounds
differently. Modes 1 and 3 are nastier and noisier, while modes 2 and 4 are more
subtle.

Overdrive
This effect creates a tube-like overdrive effect.

Drive
Adds harmonics to the output signal.

Tone
Works as a filter effect on the added harmonics.

Level
Adjusts the output level.

Pitch Shifter
This is a pitch-shifting effect.

37
Cubase Pro 11.0.0
Included Effect Plug-ins
Delay Plug-ins

Detune
Changes the pitch of the input signal in semitones.

Formant
Changes the natural timbre of the input signal.

Formant Preservation
Keeps the formants when changing the pitch with the Detune control.

Frequency Shifter
This effect shifts each frequency of the input signal by a fixed amount, which alters the harmonic
relations. Adding feedback produces a sound similar to a phaser.

Shift
Sets the amount of frequency shift.

Feedback
Sets the amount of the signal that is sent from the output of the effect back to its input.

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

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

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

Sync
Activates/Deactivates tempo sync.

Feedback
Sets the amount of the signal that is sent back into the delay input. The higher this
value, the higher the number of repeats.

Reverb
This is a versatile reverb for realistic room ambience and reverb effects.

38
Cubase Pro 11.0.0
Included Effect Plug-ins
Delay Plug-ins

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

Time
Allows you to set the reverb time in seconds.

Size
Alters the delay times of the early reflections to simulate larger or smaller spaces.

Low Level
Affects the decay time of the low frequencies. Normal room reverb decays quicker in
the high- and low-frequency range than in the mid-range. Lowering the level
percentage causes low frequencies to decay quicker. Values above 100 % cause low
frequencies to decay more slowly than the mid-range frequencies.

High Level
Affects the decay time of the high frequencies. Normal room reverb decays quicker in
the high- and low-frequency range than in the mid-range. Lowering the level
percentage causes high frequencies to decay quicker. Values above 100 % cause high
frequencies to decay more slowly than the mid-range frequencies.

Width
Controls the width of the stereo image. At a setting of 0 %, the output of the reverb is
mono, at 100 % it is stereo.

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

AutoPan
This is an auto-pan effect that allows you to modulate the left/right stereo position.

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

Sync
Activates/Deactivates tempo sync.

Link
If this button is activated, the left and right channel are modulated simultaneously.
This results in a chopping effect instead of auto-panning.
In this mode, Width sets the intensity of the volume modulation.

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

39
Cubase Pro 11.0.0
Included Effect Plug-ins
Delay Plug-ins

Waveform Shape
Allows you to select presets for the modulation waveform.
● Sine creates a smooth sweep.
● Triangle creates a ramp, that is, a linear movement from full right to full left and
back.
● Square creates an instant jump to full right, then to full left, and then back to
center.

Gate
This effect silences audio signals below a set threshold. As soon as the signal level exceeds the
threshold, the gate opens to let the signal through.

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

Release
Sets the time after which the gate closes.

PingPongDelay
This is a stereo delay effect that alternates each delay repeat between the left and right channels.
The delay line uses tempo-based or freely specified delay time settings.

NOTE

This plug-in works only on stereo tracks.

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

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

40
Cubase Pro 11.0.0
Included Effect Plug-ins
Delay Plug-ins

Delay
Sets the delay time in milliseconds.

Sync
Activates/Deactivates tempo sync.

Feedback
Sets the amount of the signal that is sent back into the delay input. The higher this
value, the higher the number of repeats.

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

Start Left/Start Right

Determines whether the delay repeat starts on the left or the right channel.

NOTE

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

NOTE

This plug-in works only on stereo tracks.

Feedback
Set the number of repeats for each delay.

41
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

Delay
Sets the delay time in milliseconds.

Sync
Activates/Deactivates tempo sync for the corresponding delay.

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

Pan
Sets the stereo position.

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

NOTE

Distortion Plug-ins

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

Select Amplifier Model

This pop-up menu allows you to select an amplifier model. You can bypass this section
by selecting No Amp.

Drive
Controls the amount of amp overdrive.

42
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

Bass
Tone control for the low frequencies.

Mid
Tone control for the mid frequencies.

Treble
Tone control for the high frequencies.

Presence
Boosts or dampens the higher frequencies.

Volume
Controls the overall output level.

Select Cabinet Model

This pop-up menu allows you to select a speaker cabinet model. You can bypass this
section by selecting No Speaker.

Damping Low/High
These tone controls allow you to shape the sound of the selected speaker cabinet.

BitCrusher
If you are into lo-fi sound, BitCrusher is the effect for you. It offers the possibility of decimating
and truncating the input audio signal by bit reduction, to get a noisy, distorted sound. For
example, you can make a 24-bit audio signal sound like an 8 or 4-bit signal, or even render it
completely garbled and unrecognizable.

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

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

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

43
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

Depth (0 to 24 bits)
Defines the bit resolution. A setting of 24 gives the highest audio quality, while a
setting of 1 creates mostly noise.

Output
Sets the output level.

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

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

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

Output
Sets the output level.

44
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

Distortion
Distortion adds crunch to your tracks.

Boost
Increases the distortion amount.

Oversampling
Activates/Deactivates oversampling. Oversampling results in less artifacts for higher
distortion.

NOTE

If this parameter is activated, the effect requires more processing power.

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

Tone
Changes the tonal characteristic of the output signal.

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

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

Output
Sets the output level.

45
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

Distroyer
Distroyer adds harmonics to the spectrum and allows for distortion effects from smooth
overdrive to extreme clipping.

The following parameters influence only the wet signal:

Lo Filter
Changes the cuttoff frequency of the low-pass filter that is applied to the wet signal
before it gets distorted.

Hi Filter
Changes the cuttoff frequency of the high-pass filter that is applied to the already
distorted wet signal.

Offset
Modifies the symmetry of the distortion effect by changing the operation point of the
characteristic.

Drive
Changes the characteristic of the distortion effect. Lower values lead to a smooth
overdrive-like effect. Higher values change the shape of the signal towards a rectangle,
leading to extreme distortion.

Oversampling
Activates/Deactivates oversampling. Oversampling results in less artifacts for higher
distortion.

NOTE

If this parameter is activated, the effect requires more processing power.

46
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

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

DC Filter
Removes DC offset that occurs when using high Offset values.

The following parameters influence both the dry and the wet signal:

Boost
Increases the distortion amount.

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

Shelf Freq
Sets the frequency of the high shelving filter.

Shelf Gain
Sets the gain of the high shelving filter.

Tone
Sets the frequency of the output low-pass filter.

Output
Sets the output level.

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

Noise
Sets the amount of added static noise.

Crackle
Adds crackle to create that old vinyl record sound. The speed switch sets the virtual
speed of the record in RPM (revolutions per minute).

Distort
Adds distortion.

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

47
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

AC
Emulates a constant, low AC hum. The frequency switch sets the virtual frequency of
the AC current (50 or 60 Hz), and thus the pitch of the AC hum.

Mix
Sets the amount of overall effect.

Magneto II
Magneto II simulates the saturation and compression of recording on analog tape machines.

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

Saturation On/Off
Activates/Deactivates the saturation effect.

Dual Mode
Simulates the use of two machines.

Frequency Range Low/High

These parameters set the frequency range of the spectrum band to which the tape
effect is applied.
For example, to avoid the saturation of lower frequencies, set the Low value to 200 Hz
or 300 Hz. To avoid the saturation of very high frequencies, set the High parameter to
values below 10 kHz.

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

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

HF-Adjust On/Off
Activates/Deactivates the HF-Adjust filter.

48
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

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

Frequency Band Editor

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

● To define the frequency range of the different frequency bands, use the handles at the sides
of each frequency band.
● To attenuate or boost the output level of each frequency band by ±15 dB, use the handles on
top of each frequency band.

Global Settings
SB
Switches between multi band and single band mode.

49
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

Scenes
You can save up to 8 different settings. If the default setting of a scene is active, the
selected scene button lights up yellow.
If you change the default settings, the button lights up green, indicating that this scene
has customized settings.

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

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

Output (-24 to 24 dB)

Sets the output level.

Band Settings
Mute Band

Mutes/Unmutes a frequency band.

Bypass Band

Bypasses a frequency band.

Solo Band

Solos the corresponding frequency band.

In/Out meter
Display the input and output level.

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

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

Drive
Controls the amount of tape saturation.

Tape Mode Dual

Simulates the use of two machines.

Tube
This band mode simulates the saturation effects using analog tubes.

50
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

Drive
Controls the amount of tube saturation.

Tubes
Determine the number of tubes that are simulated.

Dist
This band mode adds distortion to your tracks.

Drive
Controls the amount of distortion.

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

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

Drive
Controls the amount of amp overdrive.

Amp Types
You can select the following types of guitar amps:
● Amp Clean
● Amp Crunch
● Amp Lead

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

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

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

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

Delay
To open the Delay section, click the Delay button.

Time
If tempo sync is activated, this is where you specify the base note value for tempo-
syncing the effect (1/1 to 1/32, straight, triplet, or dotted).
If tempo sync is deactivated, the delay time can be set freely with the Time knob.

51
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

Sync
Activates/Deactivates tempo sync for the corresponding delay.

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

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

FBK
Determines the number of repeats for each delay.

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

NOTE

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

Slider
Width
Sets the stereo width for the corresponding band.

Out
Sets the output gain for the corresponding band.

Pan
Sets the stereo position for the corresponding band.

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

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

Input (-12 to 24 dB)

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

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

52
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

Output
Sets the output level.

Second
Controls the second harmonic.

Third
Controls the third harmonic.

VST Amp Rack

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

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

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

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

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

Wah Wah
Pedal – Controls the filter frequency sweep.

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

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

53
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

Limiter
Threshold – Determines the maximum output level. Signal levels above the set
threshold are cut off.
Release – Sets the time after which the gain returns to the original level.

Maximizer
Amount – Determines the loudness of the signal.

Flanger
Rate – Allows you to set the sweep rate. This parameter can be synchronized to the
project tempo.
Feedback – Determines the character of the flanger effect. Higher settings produce a
more metallic sounding sweep.
Mix – Sets the level balance between the dry signal and the wet signal.

Tremolo
Rate – Allows you to set the modulation speed. This parameter can be synchronized to
the project tempo.
Depth – Governs the depth of the amplitude modulation.

Octaver
Direct – Adjusts the mix of the original signal and the generated voices. A value of 0
means only the generated and transposed signal is heard. By raising this value, more
of the original signal is heard.
Octave 1 – Adjusts the level of the signal that is generated one octave below the
original pitch. A setting of 0 means that the voice is muted.
Octave 2 – Adjusts the level of the signal that is generated two octaves below the
original pitch. A setting of 0 means that the voice is muted.

Delay
Delay – Sets the delay time in milliseconds. This parameter can be synchronized to the
project tempo.
Feedback – Sets the number of repeats for the delay.
Mix – Sets the level balance between the dry signal and the wet signal.

Tape Delay
Delay – Tape Delay creates a delay effect known from tape machines. The Delay
parameter sets the delay time in milliseconds. This parameter can be synchronized to
the project tempo.
Feedback – Sets the number of repeats for the delay.
Mix – Sets the level balance between the dry signal and the wet signal.

54
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

Tape Ducking Delay

Delay – Tape Ducking Delay creates a delay effect known from tape machines with a
ducking parameter. The Delay parameter sets the delay time in milliseconds. This
parameter can be synchronized to the project tempo.
Feedback – Sets the number of repeats for the delay.
Duck – Works like an automatic mix parameter. If the level of the input signal is high,
the portion of the effect signal is lowered, or ducked (low internal mix value). If the
level of the input signal is low, the portion of the effect signal is raised (high internal
mix value). This way the delayed signal stays rather dry during loud or intensely played
passages.

Overdrive
Drive – Overdrive creates a tube-like overdrive effect. The higher this value, the more
harmonics are added to the output signal of this effect.
Tone – Works as a filter effect on the added harmonics.
Level – Adjusts the output level.

Fuzz
Boost – Fuzz creates a rather harsh distortion effect. The higher this value, the more
distortion is created.
Tone – Works as a filter effect on the added harmonics.
Level – Adjusts the output level.

Gate
Threshold – Determines the level at which the gate is activated. Signal levels above the
set threshold trigger the gate to open, and signal levels below the set threshold close
the gate.
Release – Sets the time after which the gate closes.

Equalizer
Low – Changes the level of the low-frequency portion of the incoming signal.
Middle – Changes the level of the mid-frequency portion of the incoming signal.
High – Changes the level of the high-frequency portion of the incoming signal.

Reverb
Type – A convolution-based reverb effect. This parameter allows you to switch between
different reverb types (Studio, Hall, Plate, and Room).
Mix – Sets the level balance between the dry signal and the wet signal.

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

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

55
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

Using Effects
● To insert a new effect, click the + button that appears if you point the mouse at an empty
plug-in slot or at one of the arrows before or after a used effect slot.
● To remove an effect from an effect slot, click the effect name and select None from the pop-
up menu.
● To change the order of the effects in the chain, click on an effect and drag it to another
position.
● To activate or deactivate an effect, click the pedal-like button below the effect name. If an
effect is active, the LED next to the button is lit.

NOTE

● Pre-effects and post-effects can be mono or stereo, depending on the track configuration.
● Using quick controls you can set up an external MIDI device, such as a foot controller, to
control the VST Amp Rack effects. For more information about quick controls, see the
Operation Manual.

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

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

Plexi Lead
British rock tone of the 70s and 80s.

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

Blackface
Classic American clean tone.

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

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

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

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

Selecting and Deactivating Amplifiers

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

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

56
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

Selecting and Deactivating Cabinets

● To switch cabinets on the Cabinets page, click the model that you want to use. Select No
Cabinet if you only want to use the amps and effects.
● If you select Link Amplifier & Cabinet Choice, the plug-in automatically selects the cabinet
corresponding to the selected amp model.

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

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

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

Placing the Microphone

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

Master
Use the Master page to fine-tune the sound.

Input/Output Level Meters

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

Using the Master Controls

● To activate/deactivate the equalizer, click the pedal-like On/Off button. If the equalizer is
active, the LED next to the button is lit.
● To activate/deactivate an equalizer band, click the corresponding Gain knob. If a band is
active, the LED to the left of the Gain knob is lit.
● To tune your guitar strings, click the pedal-like On/Off button to activate the Tuner and play
a string. If the correct pitch is displayed and the row of LEDs below the digital display is
green, the string is tuned correctly.
If the pitch is too low, red LEDs are lit on the left. If the pitch is too high, red LEDs are lit on
the right. The more LEDs are lit, the lower/higher is the pitch.
● To mute the output signal of the plug-in, click the pedal-like Master button. If the output is
muted, the LED is not lit. Use this to tune your guitar in silence, for example.
● To change the volume of the output signal, use the Level control on the Master page.

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

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

57
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

NOTE

In stereo mode, the effect requires more processing power.

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

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

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

Using the Smart Controls

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

Switching between Default and Compact View

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

Changing the Amplifier and Cabinet Selection in the Compact View

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

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

Previewing Effect Settings

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

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

58
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

VST Bass Amp

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

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

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

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

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

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

Wah Wah
Pedal – Controls the filter frequency sweep.

Envelope Filter
Range – Determines the frequency range.
Q-Factor – Sets the intensity of the envelope filter effect.
Sensitivity – Determines how sensitive the effect reacts to the instrument level.
Attack – Determines how quickly an effect reacts to the input signal.
Mix – Sets the level balance between the dry signal and the wet signal.
Type – Sets the filter type.
Release – Determines how quickly the effect fades after the input signal stops.

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

59
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

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

Compressor MB
Lo Intensity – Sets the compressor effect in the low frequency band. Activate/
deactivate Auto Makeup Mode by clicking the LED at the top right of the knob.
Hi Intensity – Sets the compressor effect in the high frequency band. Activate/
deactivate Auto Makeup Mode by clicking the LED at the top right of the knob.
Crossover – Determines the crossover frequency between the low frequency band and
the high frequency band.
Output – Sets the output level.

Limiter
Threshold – Determines the maximum output level. Signal levels above the set
threshold are cut off.
Release – Sets the time after which the gain returns to the original level.

Maximizer
Amount – Determines the loudness of the signal.

Chorus
Rate – Allows you to set the sweep rate. This parameter can be synchronized to the
project tempo.
Width – Determines the depth of the chorus effect. Higher settings produce a more
pronounced effect.
Tone – Allows you to attenuate low frequencies.
Mix – Sets the level balance between the dry signal and the wet signal.

Phaser
Rate – Allows you to set the sweep rate. This parameter can be synchronized to the
project tempo.
Width – Determines the width of the modulation effect between higher and lower
frequencies.
Tone – Allows you to attenuate the low frequencies.
Mix – Sets the level balance between the dry signal and the wet signal.

Flanger
Rate – Allows you to set the sweep rate. This parameter can be synchronized to the
project tempo.
Feedback – Determines the character of the flanger effect. Higher settings produce a
more metallic sounding sweep.
Tone – Allows you to attenuate the low frequencies.
Mix – Sets the level balance between the dry signal and the wet signal.

DI Driver
Level – Sets the output level.
Blend – Blends between normal and tube emulation circuitry. With Blend at 0, Drive
and Presence are not active.
Bass – Boosts or attenuates low frequencies.
Treble – Boosts or attenuates high frequencies.
Presence – Boosts or attenuates upper harmonics and attacks.
Drive – Sets gain and overdrive.

Enhancer
Enhance – Simulates the classic enhancer effect.

60
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

Tone – Allows you to attenuate low frequencies.

Octaver
Direct – Adjusts the level of the original signal. A value of 0 means only the generated
and transposed signal is heard. By raising this value, more of the original signal is
heard.
Octave 1 – Adjusts the level of the signal that is generated one octave below the
original pitch. A setting of 0 means that the voice is muted.
Tone – Changes the sound character of the generated signal.

Delay
Delay – Sets the delay time in milliseconds. This parameter can be synchronized to the
project tempo.
Feedback – The higher this setting, the more delay repeats are created.
Mix – Sets the level balance between the dry signal and the wet signal.

Tape Ducking Delay

Delay – The Delay parameter sets the delay time in milliseconds.
Feedback – The higher this setting, the more delay repeats are created.
Duck – Works like an automatic mix parameter. If the level of the input signal is high,
the portion of the effect signal is lowered, or ducked (low internal mix value). If the
level of the input signal is low, the portion of the effect signal is raised (high internal
mix value). This way the delayed signal stays rather dry during loud or intensely played
passages.
Tone – Allows you to attenuate the low frequencies.
Mix – Sets the level balance between the dry signal and the wet signal.

Magneto II
Drive – Controls the amount of tape saturation.
Low/High – These parameters set the frequency range of the spectrum band to which
the tape effect is applied.
HF-Adjust – Sets the amount of high frequency content of the saturated signal.

Gate
Threshold – Determines the level at which the gate is activated. Signal levels above the
set threshold open the gate and signal levels below the set threshold close the gate.
Release – Sets the time after which the gate closes.

Graphical EQ
Display – Consists of 8 sliders that set the level of each frequency band. Allows you to
draw response curves by clicking and dragging with the mouse.
Reset Sliders – At the lower right of the Display. Flattens all values to 0 dB.
Output Slider – Allows you to control the frequency response.

61
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

Reverb
Type – A convolution-based reverb effect. This parameter allows you to switch between
the reverb types Studio, Hall, Plate, and Room.
Mix – Sets the level balance between the dry signal and the wet signal.

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

NOTE

● Pre-effects and post-effects can be mono or stereo, depending on the track configuration.
● Using quick controls you can set up an external MIDI device, such as a foot controller, to
control the VST Bass Amp effects. For more information about quick controls, see the
Operation Manual.

Amplifiers
The amps available on the Amplifiers page are modeled on real-life amplifiers. Each amp
features settings typical for bass recording, such as gain, equalizers, and master volume. The
sound-related parameters bass, low mid, high mid, and treble have a significant impact on the
overall character and sound of the corresponding amp. Shape 1 and Shape 2 offer predefined
tone shaping.

ValveAmp300
A famous tube amplifier from the 70s, useful for rock playing styles.

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

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

62
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

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

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

iTech
A modern amplifier, with a universal sound.

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

Selecting and Deactivating Amplifiers

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

NOTE

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

The following cabinets are available:

4x10"
10" speakers provide a punchy clear sound that is suitable for “Slap” bass and regular
playing styles.
10" speakers have a cleaner sound and more punch than 15" speakers.

8x10"
Compared to 4x10", double the amount of speakers.

4x12"
12" speakers provide a mellow and full sound, making them a good choice between
10" and 15" speakers.

1x15"
15" speakers provide more low frequencies compared to the other cabinets. They are
suitable for rock and vintage oriented styles.

Selecting and Deactivating Cabinets

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

57
Dynamic microphone with cardioid pickup pattern.

63
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

121
Ribbon microphone with figure-8 pattern.

409
Dynamic microphone with supercardioid pickup pattern.

421
Dynamic microphone with cardioid polar pattern.

545
Dynamic microphone with cardioid pattern that minimizes feedback.

5
Dynamic microphone with cardioid pickup pattern.

30
Reference and measurement microphone with omni directional polar pattern.

87
Condenser microphone with omni directional pattern.

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

You can crossfade between the characteristics of the two microphones.

● To select one of the microphone types or blend between the two types, turn the Mix control
between the two microphones.
● To select a microphone position, click the corresponding ball in front of the cabinet. The
selected position is marked in red.
● To determine the ratio between line and mic, turn the Mix control on the left of the cabinet.

NOTE

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

Master
Use the Master page to fine-tune the sound.

Input/Output Level Meters

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

Using the Master Controls

● To activate/deactivate the equalizer, click the pedal-like On/Off button. If the equalizer is
active, the LED next to the button is lit.
● To activate/deactivate an equalizer band, click the corresponding Gain knob. If a band is
active, the LED to the left of the Gain knob is lit.
● To tune your guitar strings, click the pedal-like On/Off button to activate Tuner and play a
string. If the correct pitch is displayed and the row of LEDs below the digital display is green,
the string is tuned correctly.
If the pitch is too low, red LEDs are lit on the left. If the pitch is too high, red LEDs are lit on
the right. The more LEDs are lit, the lower/higher is the pitch.
● To mute the output signal of the plug-in, click the pedal-like Master button. If the output is
muted, the LED is not lit. Use this to tune your guitar in silence, for example.

64
Cubase Pro 11.0.0
Included Effect Plug-ins
Distortion Plug-ins

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

Master EQ functions only when a cabinet is selected.

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

NOTE

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

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

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

Using the Smart Controls

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

Switching between Default and Compact View

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

Changing the Amplifier and Cabinet Selection in the Compact View

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

Previewing Effect Settings

65
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

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

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

Threshold (-20 to 0 dB)

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

Release (3 to 1000 ms or Auto mode)

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

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

66
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

Detect Intersample Clipping

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

NOTE

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

NOTE

This plug-in supports external side-chaining. For a description of how to set up side-chain
routing, see the Operation Manual.

Compressor
Compressor reduces the dynamic range of the audio, making softer sounds louder or louder
sounds softer, or both.

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

Threshold (-60 to 0 dB)

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

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

67
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

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

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

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

Compensates for output gain loss caused by compression. If Auto Make-Up Gain is
activated, the output is automatically adjusted for gain loss.

Dry Mix
Mixes the dry input signal to the compressed signal.

Attack (0.1 to 100 ms)

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

Hold (0 to 5000 ms)
Sets the time the applied compression affects the signal after exceeding the threshold.
Short hold times are useful for DJ-style ducking, while longer hold times are required
for music ducking, for example, when working on a documentary film.

Release (10 to 1000 ms or Auto mode)

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

Analysis (Pure Peak to Pure RMS)

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

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

NOTE

This plug-in supports external side-chaining. For a description of how to set up side-chain
routing, see the Operation Manual.

68
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

DeEsser
DeEsser is a special type of compressor that reduces excessive sibilance, primarily for vocal
recordings.

You can use it, for example, when close proximity microphone placement and equalizing lead to
situations where the overall sound is just right, but where unwanted sibilants occur.

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

Display
Shows the spectrum of the input signal.

● To adjust the frequency band, drag the border lines or click in the middle of the band and
drag.
● To change the width of the frequency band, hold Shift and drag to the left or right.

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

NOTE

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

69
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

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

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

Dynamics
Reduction
Controls the intensity of the de-essing effect.

Threshold (-50 to 0 dB)

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

Release (1 to 1000 ms)
Sets the time after which the de-essing effect returns to zero when the signal drops
below the threshold.

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

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

Freq (25 Hz to 20 kHz)

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

NOTE

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

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

Monitor
Allows you to monitor the filtered signal.

70
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

NOTE

This plug-in supports external side-chaining. For a description of how to set up side-chain
routing, see the Operation Manual.

Positioning the DeEsser in the Signal Chain

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

EnvelopeShaper
EnvelopeShaper can be used to attenuate or boost the gain of the attack and release phase of
audio material.

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

Attack (-20 to 20 dB)

Sets the gain of the attack phase of the signal.

Length (5 to 200 ms)
Sets the length of the attack phase.

Release
Sets the gain of the release phase of the signal.

Output
Sets the output level.

NOTE

This plug-in supports external side-chaining. You can use the side-chain input to control the
effect from another signal source. If the side-chain signal exceeds the threshold, the effect is
triggered. For a description of how to set up side-chain routing, see the Operation Manual.

71
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

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

You can either use the knobs or drag the breakpoints in the graphical display to change the
Threshold and the Ratio parameter values.

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

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

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

Fall (0.1 to 100 ms)

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

Hold (0 to 2000 ms)
Sets the time the applied expansion affects the signal below the threshold.

Rise (10 to 1000 ms or Auto mode)

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

Analysis (Pure Peak to Pure RMS)

72
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

few transients such as vocals, and Peak mode works better for percussive material
with a lot of transient peaks.

NOTE

This plug-in supports external side-chaining. You can use the side-chain input to control the
expansion from another signal source. If the side-chain signal exceeds the threshold, the
expansion is triggered. For a description of how to set up side-chain routing, see the Operation
Manual.

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

Attack (0.1 to 1000 ms)

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

NOTE

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

Hold (0 to 2000 ms)
Determines how long the gate remains open after the signal drops below the threshold
level.

Release (10 to 1000 ms or Auto mode)

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

73
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

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

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

Analysis (Pure Peak to Pure RMS)

Range
Adjusts the attenuation of the gate when it is shut. If Range is set to minus infinite ,
the gate is completely shut. The higher the value, the higher the level of the signal that
passes through the shut gate.

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

Monitor
Allows you to monitor the filtered signal.

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

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

Filter Type (Low-Pass/Band-Pass/High-Pass)

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

NOTE

This plug-in supports external side-chaining. You can use the side-chain input to control the gate
from another signal source. If the side-chain signal exceeds the threshold, the gate opens. For a
description of how to set up side-chain routing, see the Operation Manual.

74
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

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

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

Input (-24 to 24 dB)

Sets the input gain.

Release (0.1 to 1000 ms or Auto mode)

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

Output
Sets the maximum output level.

75
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

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

Classic
Classic mode provides the classic algorithms from previous versions of this plug-in.
This mode is suited for all styles of music.

Modern
In Modern mode, the algorithm allows for more loudness than in Classic mode. This
mode is particularly suited for contemporary styles of music.
Modern mode also provides additional settings to control the release phase:
● Release sets the overall release time.
● Recover allows for a faster signal recovering at the beginning of the release phase.

Optimize
Determines the loudness of the signal.

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

Output
Sets the maximum output level.

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

76
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

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

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

Attack (0 to 500 ms)
Sets the time after which the gate opens when it is triggered.

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

Release (0 to 3000 ms)
Sets the time after which the gate closes after the set Hold time.

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

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

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

Hold Mode
Sets the Hold Mode.
● In Note On mode, the gate only remains open for the time set with the Hold and
Release parameters, regardless of the length of the MIDI note that triggered the
gate.
● In Note Off mode, the gate remains open for as long as the MIDI note plays. The
Hold and Release parameters are applied once a note-off signal has been
received.

77
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

Setting Up MIDI Gate

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

PROCEDURE
1. Select the audio track to which you want to apply MIDI Gate.
This can be recorded or realtime audio material from any audio track.
2. Select MIDI Gate as an insert effect for the audio track.
3. Select a MIDI track to control the MIDI Gate effect.
You can either play notes on a connected MIDI keyboard or use recorded MIDI notes.
4. Open the Output Routing pop-up menu for the MIDI track and select MIDI Gate.

Applying MIDI Gate

PREREQUISITE
Set up the plug-in properly.

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

PROCEDURE
1. If you use realtime MIDI to trigger the plug-in, make sure the MIDI track is selected.
2. Start playback.
3. If you use realtime MIDI, play a few notes on your keyboard.

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

RELATED LINKS
Setting Up MIDI Gate on page 78

78
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

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

NOTE

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

Frequency Band Editor

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

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

79
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

Bypass Band

Bypasses a frequency band.

Solo Band

Solos the corresponding frequency band.

Output (-24 to 24 dB)

Sets the output level.

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

Threshold (-60 to 0 dB)

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

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

Attack (0.1 to 100 ms)

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

Release (10 to 1000 ms or Auto mode)

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

IMPORTANT

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

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

80
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

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

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

Monitor
Allows you to monitor the filtered signal.

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

Frequency Band Editor

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

● To define the frequency range of the different frequency bands, use the handles at the sides
of each frequency band.
● To attenuate or boost the gain of the frequency band, use the handles at the top of each
frequency band.

81
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

Bypass Band

Bypasses a frequency band.

Solo Band

Solos the corresponding frequency band.

Output (-24 to 24 dB)

Sets the output level.

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

Attack (-20 to 20 dB)

Sets the gain of the attack phase of the signal.

Length (5 to 200 ms)
Sets the length of the attack phase.

Release
Sets the gain of the release phase of the signal.

Sensitivity (-40 to -10 dB)

Sets the sensitivity of the detection.

Output
Sets the output level.

82
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

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

Frequency Band Editor

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

● To define the frequency range of the different frequency bands, use the handles at the sides.
● To attenuate or boost the gain of the frequency band after expansion, use the handles on
top of each frequency band.

Bypass Band

Bypasses a frequency band.

Solo Band

83
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

Solos the corresponding frequency band.

Output (-24 to 24 dB)

Sets the output level.

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

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

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

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

Fall (0.1 to 100 ms)

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

Hold (0 to 2000 ms)
Sets the time the applied expansion affects the signal below the threshold.

Rise (10 to 1000 ms or Auto mode)

Output
Sets the output level.

Side-Chain Section

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

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

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

Monitor
Allows you to monitor the filtered signal.

84
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

Squasher
Squasher is a multi-band compressor that combines upward and downward compression,
allowing you to squash the audio signal. You can set up different parameters for up to 3
frequency bands and use internal or external side-chaining sources to control the amount of
compression for each band.

Main section
This section provides general settings for upward and downward compression for each
frequency band.

Frequency/Compressor display
Displays the frequency spectrum. It allows you to edit the band range, the output level,
the upward/downward ratio, and the upward/downward threshold for each band. You
can switch the display between a frequency spectrum view and a compressor
characteristics view by clicking the corresponding buttons left of the display:

Frequency spectrum

Compressor characteristics

85
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

You can edit the output level of a band or the cutoff frequency between two bands by
dragging the corresponding handle in the frequency spectrum display.

Show/Hide Full Frequency Band View

Shows/Hides the frequency spectrum/compressor display.

Input meter
Shows the level of the overall input signal.

Input
Sets the overall input level.

Bands
Sets the number of frequency bands.

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

Parameter Link
Links the parameters of the same type in all bands. This allows you to edit parameter
values of all bands in a module simultaneously. Two link modes are available:
● If Absolute Mode is activated and you edit a parameter value of one band, the
corresponding parameter values of the other bands are set to the same value.
● If Relative Mode is activated and you edit a parameter value of one band, the
relation of the corresponding parameter values of the other bands remains the
same.

Activate/Deactivate Band
Activates/Deactivates the corresponding frequency band.

Solo Band
Solos the corresponding frequency band.

Up Ratio/Down Ratio
Set the amount of upward and downward compression. These parameters allow you to
adjust the squashing effect.

In
Shows the input level for the corresponding frequency band.

Up Threshold/Down Threshold
The left triangle sets the threshold for upward compression. If the input signal is below
this threshold, the upward compressor raises the level according to the Up Ratio value.
The right triangle sets the threshold for downward compression. If the input signal is
above this threshold, the downward compressor lowers the level according to the
Down Ratio value.
You can drag the darker area between both handles to adjust Up Threshold and Down
Threshold simultaneously.

Output meter
Shows the level of the overall output signal.

Output
Sets the overall output level.

Squash Parameter section

This section provides additional compression and filter settings for each frequency band.

86
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

Show/Hide Squash Parameter Section

Shows/Hides the squash parameter section.

Att.
Sets the compression attack time for both the upward and downward compressor.

Rel.
Sets the compression release time for both the upward and downward compressor.

Drive
Sets the amount of saturation. This parameter adds harmonics to the output signal.

Gate
Sets the threshold for the internal gating effect. Signal levels above this threshold
trigger the gate to open. Signal levels below this threshold close the gate.

NOTE

You can control this parameter via side-chaining.

Mix
Adjusts the mix between dry signal and wet signal for the corresponding band.

Output
Sets the output level for the corresponding band.

NOTE

Alternatively, you can edit this parameter by dragging the corresponding handle in the
frequency display.

Side-Chain section
This section provides settings for internal and external side-chaining for each frequency band. It
is only available if the parameter section is shown.

Show/Hide Side-Chain Section

Shows/Hides the side-chaining section.

Activate/Deactivate Side-Chaining for Band

Activates/Deactivates side-chaining for the corresponding band.

Side-Chain Input
This pop-up menu allows you to select the side-chain input for the corresponding
band.
● Internal uses the input signal of the track.
● Side-Chain 1 - Side-Chain 3 allow you to use the side-chain inputs of the plug-in.

Side-Chain Filter Listen

Lets you monitor the side-chain signal and the applied filter.

Freq
Sets the frequency of the side-chain filter.

Q
Sets the Q factor of the side-chain filter.

87
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

Send to
This pop-up menu allows you to send the side-chain signal to the compressor section
(Squasher) or to the internal gate.

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

VU Meter
Shows the amount of gain reduction.

In/Out Meters
Show the highest peaks of all available input and output channels.

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

Drive (1.0 to 6.0 dB)

Controls the amount of tube saturation.

Output (-12 to 12 dB)

Sets the output gain.

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

Attack (0.1 to 100 ms)

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

88
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

Release (10 to 1000 ms or Auto mode)

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

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

Ratio
Toggles between a low and a high ratio value.

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

Side-chain section
Filter Type (Low-Pass/Band-Pass/High-Pass)
If Side-Chain is activated, these buttons allow you to set the filter type to low-pass,
band-pass, or high-pass.

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

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

Monitor
Allows you to monitor the filtered signal.

NOTE

This plug-in supports external side-chaining. For a description of how to set up side-chain
routing, see the Operation Manual.

VintageCompressor
VintageCompressor is modeled after vintage type compressors.

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

VU Meter
Shows the amount of gain reduction.

89
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

In/Out Meters
Show the highest peaks of all available input and output channels.

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

Attack (0.1 to 100 ms)

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

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

Release (10 to 1000 ms or Auto mode)

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

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

Output (-48 to 24 dB)

Sets the output gain.

NOTE

This plug-in supports external side-chaining. For a description of how to set up side-chain
routing, see the Operation Manual.

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

90
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

The window is divided into three sections containing controls and meters for each effect. Activate
the individual effects using the Gate, Compressor, and Limiter buttons. You can select between
three different routing options using the Module Configurator button.

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

The following parameters are available:

Input meter
Shows the level of the input signal.

Attack (0.1 to 100 ms)

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

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

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

Release (10 to 1000 ms or Auto mode)

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

Hold (0 to 2000 ms)
Determines how long the gate remains open after the signal drops below the threshold
level.

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

Filter Type (Low-Pass/Band-Pass/High-Pass)

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

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

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

Monitor
Allows you to monitor the filtered signal.

91
Cubase Pro 11.0.0
Included Effect Plug-ins
Dynamics Plug-ins

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

Input meter
Shows the level of the input signal.

Graphical display
Visualizes the settings for Threshold and Ratio and allows you to adjust them by
dragging the handles.

Gain Reduction meter

Shows the amount of gain reduction.

Threshold (-60 to 0 dB)

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

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

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

Compensates for output gain loss caused by compression. If Auto Make-Up Gain is
activated, the output is automatically adjusted for gain loss.

Attack (0.1 to 100 ms)

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

Release (10 to 1000 ms or Auto mode)

Limiter
A limiter ensures that the output level never exceeds a set threshold to avoid clipping in effects
following in the chain. Conventional limiters usually require a very accurate setup of the attack
and release parameters to prevent the output level from going beyond the set threshold level.
Limiter adjusts and optimizes these parameters automatically according to the audio material.

Input meter
Shows the level of the input signal.

Gain Reduction meter

Shows the amount of gain reduction.

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

Output
Sets the maximum output level.

92
Cubase Pro 11.0.0
Included Effect Plug-ins
EQ Plug-ins

Release (10 to 1000 ms or Auto mode)

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

Output section
Output meter
Shows the level of the output signal.

Module Configurator
Changes the signal flow through the three effects. Changing the order of the effects
can produce different results, and the available routing configurations allow you to
quickly compare what works best for a given situation. Click Module Configurator to
toggle between the following routing configurations:
● G-C-L (Gate-Compressor-Limiter)
● C-L-G (Compressor-Limiter-Gate)
● C-G-L (Compressor-Gate-Limiter)

EQ Plug-ins

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

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

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

93
Cubase Pro 11.0.0
Included Effect Plug-ins
EQ Plug-ins

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

Graphical display
Allows you to set the amount of boost or attenuation for the low, mid, or high band by
dragging.
● To set the low, mid, and high frequency gain, click and drag the corresponding
band handle.
● To fine-adjust the gain, press Shift and drag.
● To set a parameter to zero, press Ctrl/Cmd and click it.

Low Frequency Gain/Mid Frequency Gain/High Frequency Gain

Set the amount of boost or attenuation for the low, mid, and high band.

Cut Low Frequencies/Cut Mid Frequencies/Cut High Frequencies

Cut the low, mid, and high band.

Output meter
Shows the level of the output signal.

Frequency 2
Frequency 2 is a high-quality equalizer with 8 fully parametric bands. The bands can act as
shelving filter, as peak or notch filter (band-pass), or as cut filter (low-pass/high-pass).

The plug-in supports separate internal or external side-chaining for each band. For Low Shelf,
High Shelf, and Peak filters, dynamic filtering lets you determine when and how the EQ is
applied, depending on the dynamics of the audio material.

94
Cubase Pro 11.0.0
Included Effect Plug-ins
EQ Plug-ins

Main Section
Reset

Alt/Opt -click this button to reset all parameter values.

Auto Listen for Filters

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

Global Settings

Opens the settings dialog for the spectrum display.

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

View
Toggles between single-band and multi-band view. Single-band view provides
additional parameters for each band.

NOTE

To toggle between single-band and multi-band view, you can also double-click on the
top of a band section.

95
Cubase Pro 11.0.0
Included Effect Plug-ins
EQ Plug-ins

Output
Adjusts the overall output level.

Output meter
Shows the level of the overall output signal.

Band Settings

Multi-band view

Single-band view

Activate/Deactivate Band
Activates/Deactivates the corresponding band.

NOTE

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

in the graphical editor.
● You can modify the parameters of deactivated bands.

Switch Processing buttons

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

IMPORTANT

When using Mid/Side processing mode, we recommend that you activate Linear
Phase Processing in order to avoid unwanted sound colorization.

96
Cubase Pro 11.0.0
Included Effect Plug-ins
EQ Plug-ins

NOTE

This setting is only available for stereo tracks.

Linear Phase Processing

Activates/Deactivates linear phase mode for the corresponding band.
Linear phase mode avoids unwanted frequency-dependent phase shifts of the audio
signal that might occur with standard minimum phase equalizing.
Activating this option deactivates dynamic filtering for the corresponding band.

NOTE

● Linear phase mode leads to an increase in latency.

● In rare cases, for example, when using low-cut filtering with a high slope for bass
signals, you may hear an unwanted pre-ringing effect.

Filter type
You can choose between the filter types Low Shelf, Peak, High Shelf, and Notch. For
band 1 and 8, you can also select the types Cut 6, Cut 12, Cut 24, Cut 48, and Cut 96.
● Low Shelf boosts or attenuates frequencies below the cutoff frequency by the
specified amount.
● Peak boosts or attenuates frequencies at the set frequency value with a bell-
shaped filter.
● High Shelf boosts or attenuates frequencies above the cutoff frequency by the
specified amount.
● Notch boosts or attenuates frequencies at the set frequency value with a very
narrow filter.
● Cut attenuates frequencies below (band 1) or above (band 8) the set frequency.
You can choose between different slopes: 6 dB, 12 dB, 24 dB, 48 dB, or 96 dB per
octave.

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

NOTE

● You can adjust the Freq parameter of a band in the graphical editor by Alt/Opt -
clicking the corresponding handle and moving the mouse left and right.
● Ensure that you enter a space between the note and the cent offset. Only in this
case, the cent offsets are taken into account.

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

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

NOTE

● You can adjust the Q parameter of a band in the graphical editor by Shift -clicking
the corresponding handle and moving the mouse up and down. Alternatively, you
can point on the handle and turn the mouse wheel.

97
Cubase Pro 11.0.0
Included Effect Plug-ins
EQ Plug-ins

● This parameter is not available for Cut 6 filters.

Gain
Sets the amount of attenuation/boost for the corresponding band. If Dynamic
Filtering is activated, this is also the target gain value.

NOTE

● You can adjust the Gain parameter of a band in the graphical editor by Ctrl/Cmd -
clicking the corresponding handle and moving the mouse up and down.
● This parameter is not available for Cut filters.

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

Show Dynamics Parameters

Shows/Hides parameters for dynamic filtering in multi-band view.

NOTE

This setting is only available for the filter types Low Shelf, Peak, and High Shelf.

Activate/Deactivate Dynamic Filtering

Activates/Deactivates dynamic filtering for the corresponding band. If this option is
activated, the filtering of the band depends on the dynamics of the input signal.
Activating this setting deactivates linear phase mode for the corresponding band.

NOTE

This setting is only available for the filter types Low Shelf, Peak, and High Shelf.

Threshold
Determines the threshold level. Only signal levels above the threshold are dynamically
filtered.

Input meter
Shows the level of the input signal.

NOTE

In multi-band view, the input level meter is combined with the threshold handle.

Start
Allows you to adjust the starting point for the gain. Dynamic filtering takes place from
this point to the set Gain of the EQ band.

NOTE

This setting is only available in single-band view.

Ratio
The higher the level of the input signal is above the threshold, the more filtering
occurs. Low ratio values mean that the filter starts to boost or attenuate smoothly
above the threshold. High ratio values mean that the target gain is reached almost
immediately.

98
Cubase Pro 11.0.0
Included Effect Plug-ins
EQ Plug-ins

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

Release
Sets the time after which the dynamic EQ returns to its original level when the signal
drops below the threshold.

Side-Chain
Activates/Deactivates internal side-chaining for the corresponding band. This allows
you to shape the input signal according to the side-chain filter parameters.

NOTE

● This setting is only available in single-band view.

● Side-chaining is only available if dynamic filtering is activated.
● If side-chaining is activated, this is indicated by showing SC on the top of a band
section.

Input
Sets the side-chain input for the corresponding band. If Internal is selected, the input
signal of the plug-in is used as side-chain source. If Side-Chain 1 to Side-Chain 8 is
selected, the signal of tracks that are routed to the corresponding plug-in side-chain
input is used.

NOTE

This setting is only available in single-band view.

Side-Chain Filter Auto

Activates/Deactivates automatic filtering of the side-chain signal. If this parameter is
activated, the SC Freq and SC Q parameters are deactivated. Instead, the Freq and Q
values of the corresponding band are used.

NOTE

This setting is only available in single-band view.

Side-Chain Filter Listen

Allows you to solo the side-chain filter. This way, you can quickly check the part of the
signal that is filtered out using the current settings.

NOTE

This setting is only available in single-band view.

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

NOTE

● Ensure that you enter a space between the note and the cent offset. Only in this
case, the cent offsets are taken into account.
● This setting is only available in single-band view.

99
Cubase Pro 11.0.0
Included Effect Plug-ins
EQ Plug-ins

SC Q
Sets the resonance or width of the filter for the corresponding band.

NOTE

This setting is only available in single-band view.

NOTE

This plug-in supports external side-chaining. For a description of how to set up side-chain
routing, see the Operation Manual.

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

Spectrum Display
Show Spectrum
Activates/Deactivates the spectrum display.

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

Smooth
Determines the reaction time of the spectrum display. Lower values result in faster
reaction times and smoother transitions.

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

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

Slope
Tilts the spectrum display around the 1 kHz pivot.

EQ Curve
Show Curve
Shows/Hides the EQ curve in the spectrum display.

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

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

100
Cubase Pro 11.0.0
Included Effect Plug-ins
EQ Plug-ins

GEQ-10

GEQ-30

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

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

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

Output
Sets the overall gain of the equalizer.

Flatten
Resets all the frequency bands to 0 dB.

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

Invert
Inverts the current response curve.

Mode pop-up menu

Allows you to set the filter mode that determines how the various frequency band
controls interact to create the response curve.

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

101
Cubase Pro 11.0.0
Included Effect Plug-ins
EQ Plug-ins

True Response
Applies serial filters with an accurate frequency response.

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

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

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

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

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

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

StudioEQ
Studio EQ is a high-quality 4-band parametric stereo equalizer. All four bands can act as fully
parametric peak filters. In addition, the low and high bands can act as either shelving filters
(three types) or as cut filters (low-pass/high-pass).

Main Layout
Reset
Alt/Opt -click this button to reset all parameter values.

102
Cubase Pro 11.0.0
Included Effect Plug-ins
EQ Plug-ins

Show Input/Output Spectrum

Shows the spectrum before and after filtering.

Output
Adjusts the overall output level.

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

Band Settings

Activate/Deactivate Band
Activates/Deactivates the corresponding band.

NOTE

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

NOTE

● You can adjust the Freq parameter of a band in the graphical editor by Alt -clicking
the corresponding handle and moving the mouse left and right.
● Ensure that you enter a space between the note and the cent offset. Only in this
case, the cent offsets are taken into account.

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

Q
For Peak filters, this parameter controls the width of the band. For Shelf filters, it adds
a drop or a boost, depending on the gain setting of the band. For Cut filters, it adds a
resonance.

NOTE

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

103
Cubase Pro 11.0.0
Included Effect Plug-ins
Filter Plug-ins

NOTE

Filter type
For the low and high band, you can choose between three types of shelving filters, a
peak filter (band-pass), and a cut filter (low-pass/high-pass). If Cut mode is selected,
the Gain parameter is fixed.
● Shelf I adds resonance in the opposite gain direction slightly above the set
frequency.
● Shelf II adds resonance in the gain direction at the set frequency.
● Shelf III is a combination of Shelf I and II.

Filter Plug-ins

DualFilter
DualFilter filters out specific frequencies while allowing others to pass through.

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

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

104
Cubase Pro 11.0.0
Included Effect Plug-ins
Filter Plug-ins

MorphFilter
MorphFilter lets you mix low-pass, high-pass, band-pass, and band-reduction filter effects,
allowing for creative morphings or mixtures between two filters.

Filter A buttons
Allow you to select the characteristic of the first filter.
● Low Pass
Eliminates high-frequency signal components. Filter slopes of 6, 12, 18, and 24 dB
per decade are available.
● Band Pass
Allows signals falling within a certain frequency range to pass through. Filter
slopes of 12 and 24 dB per decade are available.

Filter B buttons
Allow you to select the characteristic of the second filter.
● High Pass
Eliminates low-frequency signal components. Filter slopes of 6, 12, 18, and 24 dB
per decade are available.
● Band Rejection
Lets all frequencies pass, except those in the stop band. Filter slopes of 12 and
24 dB per decade are available.

Resonance Factor
Sets the resonance value of both filters simultaneously.

Frequency
Sets the cutoff frequency of both filters simultaneously.

Graphical display
Visualizes the settings for all parameters. The handle allows you to adjust the Morph
Factor and the Frequency parameters simultaneously.

Output meter
Shows the level of the output signal.

105
Cubase Pro 11.0.0
Included Effect Plug-ins
Filter Plug-ins

Morph Factor
Allows you to mix the output between both filters.

StepFilter
StepFilter is a pattern-controlled multimode filter that can create rhythmic, pulsating filter
effects. You can also trigger pattern steps individually via MIDI.

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

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

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

If Sync is deactivated, StepFilter allows you to trigger pattern steps individually via MIDI notes.

Setting Step Values

● To enter a step, click in the pattern grid windows.
● Individual step entries can be dragged up or down the vertical axis, or directly set by clicking
in an empty grid box. By click-dragging left or right, consecutive step entries are set at the
pointer position.
● Change the value for a step by dragging it up or down.
● Draw in a curve by clicking and dragging in the display.

106
Cubase Pro 11.0.0
Included Effect Plug-ins
Filter Plug-ins

Selecting New Patterns

● Patterns are saved with the project, and up to 8 different cutoff and resonance patterns can
be saved internally. Both the cutoff and resonance settings are saved together in the 8
pattern slots.
● Use the Pattern slots to select a new pattern. New patterns are all set to the same step value
by default.

StepFilter Parameters
Filter Type
Sets the filter type. A low-pass, a band-pass, and a high-pass filter are available.

Filter Mode
Allows you to choose between two filter modes. Classic mode is compatible with
previous versions of this plug-in. Modern mode provides an additional Hard Clip
parameter.

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

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

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

NOTE

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

Rate
If Sync is activated, Rate allows you to specify the base note value for synchronizing
the pattern playback to the tempo of the host application (1/1 to 1/32, straight, triplet,
or dotted).
If Sync is deactivated, you can trigger pattern steps individually via MIDI.

Hard Clip
Adds more high frequency harmonics and distortion to the signal. This parameter is
only available in Modern mode.

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

Output
Sets the output level.

RELATED LINKS
Creating Variations for StepFilter Patterns on page 108
Controlling StepFilter via MIDI on page 108

107
Cubase Pro 11.0.0
Included Effect Plug-ins
Filter Plug-ins

Creating Variations for StepFilter Patterns

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

PROCEDURE
1. Select the pattern that you want to copy.
2. Click the Copy button.
3. Select another pattern slot.
4. Click the Paste button.

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

Controlling StepFilter via MIDI

StepFilter allows you to trigger steps individually via MIDI notes.

PREREQUISITE
● Your project contains a MIDI track that is routed to the MIDI input of a track that uses
StepFilter as an insert plug-in.
● In StepFilter, Sync is deactivated.

PROCEDURE
● Do one of the following:
● Use the note C0 to increase the step number by one.
● Use the notes from C1 to D#2 to trigger the steps 1 to 16 directly.

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

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

Tone
Sets the center filter frequency.

Width
Sets the resonance of the filter.

108
Cubase Pro 11.0.0
Included Effect Plug-ins
Filter Plug-ins

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

Pedal Control (MIDI)

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

Freq Low/Freq High

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

Width Low/Width High

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

Gain Low/Gain High

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

Filter Slope selector

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

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

109
Cubase Pro 11.0.0
Included Effect Plug-ins
Mastering Plug-ins

If WahWah is used as an insert effect (for an audio track or an FX channel), it is available on the
Output Routing pop-up menu for MIDI tracks.

If WahWah is selected on the Output Routing menu, MIDI data is directed to the plug-in from
the selected track.

Mastering Plug-ins

UV22HR
UV22HR is an advanced version of Apogee's renowned UV22 dithering algorithm, capable of
dithering to 8, 16, 20, or 24 bits.

8, 16, 20, 24 bit

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

Hi
Applies a normal dither gain.

Lo
Applies a lower level of dither noise.

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

IMPORTANT

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

Modulation Plug-ins

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

NOTE

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

110
Cubase Pro 11.0.0
Included Effect Plug-ins
Modulation Plug-ins

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

Waveform preset buttons

Allow you to select presets for the modulation waveform.
● Sine creates a smooth sweep.
● Triangle creates a ramp, that is, a linear movement from full right to full left and
back.
● Square creates an instant jump to full right, then to full left, and then back to
center.
● Random One Shot creates a random curve. Click this button again to create a new
random curve.
● Random Continuous automatically creates a new random curve after each period.

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

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

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

Sync
Activates/Deactivates tempo sync.

111
Cubase Pro 11.0.0
Included Effect Plug-ins
Modulation Plug-ins

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

NOTE

This plug-in supports external side-chaining. You can use the side-chain input to
control the Width parameter from another signal source. For a description of how to
set up side-chain routing, see the Operation Manual.

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

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

Waveform buttons
Allow you to select the modulation waveform.

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

Sync
Activates/Deactivates tempo sync.

Speed
If tempo sync is activated, this is where you specify the base note value for tempo-
syncing the effect (1/1 to 1/32, straight, triplet, or dotted).
If tempo sync is deactivated, the tremolo speed can be set freely with the Speed knob.

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

112
Cubase Pro 11.0.0
Included Effect Plug-ins
Modulation Plug-ins

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

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

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

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

Sync
Activates/Deactivates tempo sync.

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

Lo Filter/Hi Filter
Allow you to roll off low and high frequencies of the effect signal.

NOTE

This plug-in supports external side-chaining. You can use the side-chain input to control the
modulation from another signal source. If the side-chain signal exceeds the threshold, the

113
Cubase Pro 11.0.0
Included Effect Plug-ins
Modulation Plug-ins

modulation is controlled by the side-chain signal’s envelope. For a description of how to set up
side-chain routing, see the Operation Manual.

Cloner
Cloner adds up to 4 detuned and delayed voices to the signal for rich modulation and chorus
effects.

Graphical display
Shows the panning position of each voice in the stereo spectrum.

Voices
Sets the number of voices. Each voice has a Detune and a Delay slider.

Detune slider (1 to 4)
Sets the relative amount of detune for each voice. Positive and negative values can be
set. If set to zero, no detune takes place for that voice.

Delay slider (1 to 4)
Sets the relative delay amount for each voice. If set to zero, no delay takes place for
that voice.

Detune
Sets the overall amount of detune for all voices. If set to zero, no detune takes place
regardless of the Detune slider settings.

Natural
Changes the pitch algorithm that is used for detune.

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

114
Cubase Pro 11.0.0
Included Effect Plug-ins
Modulation Plug-ins

Static (Detune)
Activate this button to use a static amount of detune.

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

Output (-12 to 12 dB)

Sets the output gain.

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

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

Static (Delay)
Activate this button to use a static delay amount.

Flanger
This is a classic flanger effect with added stereo enhancement.

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

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

Mode
Allows you to toggle between LFO and Manual mode.
In LFO mode, you can define the sweep rate or sync it to the project tempo. In Manual
mode, you can change the sweep manually.

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

115
Cubase Pro 11.0.0
Included Effect Plug-ins
Modulation Plug-ins

If Tempo Sync is deactivated, the sweep rate can be set freely with the Rate dial.

Sync
Activates/Deactivates tempo sync.

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

Lo Range/Hi Range
Set the frequency boundaries for the flanger sweep.

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

Lo Filter/Hi Filter
Allow you to roll off low and high frequencies of the effect signal.

NOTE

This plug-in supports external side-chaining. You can use the side-chain input to control the
modulation from another signal source. If the side-chain signal exceeds the threshold, the
modulation is controlled by the side-chain signal’s envelope. For a description of how to set up
side-chain routing, see the Operation Manual.

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

116
Cubase Pro 11.0.0
Included Effect Plug-ins
Modulation Plug-ins

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

Speed
If tempo sync is activated, this is where you specify the base note value for
synchronizing the effect to the tempo of the host application (1/1 to 1/32, straight,
triplet, or dotted).
If tempo sync is deactivated, the modulation speed can be set freely with the Speed
knob.

Sync
Activates/Deactivates tempo sync.

Mono
Switches the output to mono.

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

Sharpness
Sets the character of the filter effect. The higher the value, the narrower the affected
frequency area, which produces a sharper sound and a more pronounced effect.

Tone
Sets the feedback frequency. The effect of this is more noticeable with high Feedback
settings.

Output
Sets the output level.

Phaser
Phaser produces the well-known swooshing phasing effect with additional stereo enhancement.

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

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

Mode
Allows you to toggle between LFO and Manual mode.

117
Cubase Pro 11.0.0
Included Effect Plug-ins
Modulation Plug-ins

In LFO mode, you can define the sweep rate or sync it to the project tempo. In Manual
mode, you can change the sweep manually.

Sync
Activates/Deactivates tempo sync.

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

Lo Filter/Hi Filter
Allow you to roll off low and high frequencies of the effect signal.

NOTE

RingModulator
RingModulator can produce complex, bell-like enharmonic sounds.

Ring modulators work by multiplying two audio signals. The ring-modulated output contains
added frequencies generated by the sum of, and the difference between, the frequencies of the
two signals.

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

118
Cubase Pro 11.0.0
Included Effect Plug-ins
Modulation Plug-ins

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

LFO Amount
Controls how much the LFO affects the oscillator frequency.

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

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

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

Range
Determines the frequency range of the oscillator in Hz.

LFO
Waveform buttons
Allow you to select the LFO waveform: square, sine, saw, or triangle.

Speed
Sets the LFO speed.

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

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

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

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

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

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

119
Cubase Pro 11.0.0
Included Effect Plug-ins
Modulation Plug-ins

Level Settings
Mix
Sets the level balance between the dry signal and the wet signal.

Output
Sets the output level.

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

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

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

Speed selector (stop/slow/fast)

Allows you to control the speed of the rotary speaker.

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

Set Speed Change Mode

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

Additional settings
Overdrive
Applies a soft overdrive or distortion.

120
Cubase Pro 11.0.0
Included Effect Plug-ins
Modulation Plug-ins

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

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

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

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

Amp Mod
Controls the high rotor amplitude modulation.

Freq Mod
Controls the high rotor frequency modulation.

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

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

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

Amp Mod
Adjusts the modulation depth of the amplitude.

Level
Adjusts the overall bass level.

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

Angle
Sets the simulated microphone angle. A value of 0 ° corresponds to a mono miking
setup with a single microphone in front of the speaker cabinet, 180 ° corresponds to a
stereo miking setup with a microphone on each side of the cabinet.

Distance
Sets the simulated microphone distance from the speaker in inches.

Final Settings
Output
Sets the output level.

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

121
Cubase Pro 11.0.0
Included Effect Plug-ins
Modulation Plug-ins

Directing MIDI to the Rotary

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

● If Rotary is used as insert effect (for an audio track or an FX channel), it is available on the
Output Routing pop-up menu for MIDI tracks. If Rotary is selected on the Output Routing
pop-up menu, MIDI is directed to the plug-in from the selected track.

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

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

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

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

Sync
Activates/Deactivates tempo sync.

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

122
Cubase Pro 11.0.0
Included Effect Plug-ins
Modulation Plug-ins

Lo Filter/Hi Filter
Allow you to roll off low and high frequencies of the effect signal.

NOTE

Tranceformer
Tranceformer is a ring modulator effect that modulates incoming audio by an internal, variable
frequency oscillator, producing new harmonics. You can use a second oscillator to modulate the
frequency of the first oscillator, in sync with the song tempo if needed.

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

Waveform buttons
Allow you to select a pitch modulation waveform.

Waveform display
Allows you to modify the Pitch and Depth parameters simultaneously by dragging.

Pitch
Sets the frequency of the modulating oscillator.

Activate/Deactivate Pitch Modulation

Activates/Deactivates the modulation of the pitch parameter.

Sync
Activates/Deactivates tempo sync.

123
Cubase Pro 11.0.0
Included Effect Plug-ins
Modulation Plug-ins

Depth
Sets the intensity of the pitch modulation.

Mono
Switches the output to mono.

Output
Sets the output level.

Tremolo
Tremolo produces amplitude modulation.

Sync
Activates/Deactivates tempo sync.

Depth
Governs the depth of the amplitude modulation.

Spatial
Adds a stereo effect to the modulation.

Output
Sets the output level.

NOTE

124
Cubase Pro 11.0.0
Included Effect Plug-ins
Network Plug-ins

Vibrato
Vibrato creates pitch modulation.

Depth
Sets the intensity of the pitch modulation.

Sync
Activates/Deactivates tempo sync.

Spatial
Adds a stereo effect to the modulation.

NOTE

Network Plug-ins

VST Connect CUE Mix

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

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

125
Cubase Pro 11.0.0
Included Effect Plug-ins
Other Plug-ins

Other Plug-ins

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

Quantize Note

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

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

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

NOTE

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

Backspin

Simulates a turntable backspin.

Reverse

Plays the slice in reverse.

Tapestart

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

126
Cubase Pro 11.0.0
Included Effect Plug-ins
Other Plug-ins

Scratch

Plays the slice as if scratched.

Slowdown

Applies a slowdown.

Tapestop 1

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

Tapestop 2

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

Stutter

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

Slur

Stretches the slice over 2 or 4 slice lengths.

Cycle

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

Staccato

Shortens the slice.

Mute

Mutes the slice.

Triggering the Performance Controls with Your MIDI Keyboard

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

Controlling LoopMash FX with a MIDI Keyboard

PROCEDURE
1. Create an audio track and import an audio file, a drum loop, for example.
2. Insert LoopMash FX as an insert effect.

127
Cubase Pro 11.0.0
Included Effect Plug-ins
Pitch Shift Plug-ins

3. Play back the drum loop in a cycle.

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

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

Pitch Shift Plug-ins

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

Direct
Sets the level balance between the dry signal and the wet signal. A value of 0 means
that only the generated and transposed signal is heard. By raising this value, more of
the original signal is heard.

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

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

Pitch Correct
Pitch Correct automatically detects, adjusts, and fixes slight pitch and intonation inconsistencies
in monophonic vocal and instrumental performances in realtime. The advanced algorithms

128
Cubase Pro 11.0.0
Included Effect Plug-ins
Pitch Shift Plug-ins

preserve the formants of the original sound and allow for natural sounding pitch correction
without the typical Mickey Mouse effect.

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

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

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

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

Scale source
Internal
If you choose the Internal option from the Scale Source pop-up menu, you can use
the pop-up menu next to it to decide to which scale the source audio is adapted.
● Chromatic: The audio is pitched to the closest semitone.
● Major/Minor: The audio is pitched to the major/minor scale specified on the pop-
up menu to the right. This is reflected on the keyboard display.
● Custom: The audio is pitched to the notes that you specify by clicking keys on the
keyboard display. To reset the keyboard, click the orange line below the display.

External MIDI Scale

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

129
Cubase Pro 11.0.0
Included Effect Plug-ins
Pitch Shift Plug-ins

NOTE

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

External MIDI Note

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

NOTE

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

Chord Track – Chords

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

NOTE

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

Chord Track – Scale

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

NOTE

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

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

Optimize (General, Male, Female)

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

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

Master Tuning
Detunes the output signal.

130
Cubase Pro 11.0.0
Included Effect Plug-ins
Reverb Plug-ins

Reverb Plug-ins

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

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

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

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

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

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

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

131
Cubase Pro 11.0.0
Included Effect Plug-ins
Reverb Plug-ins

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

Delay
Delays the onset of the reverb tail.

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

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

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

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

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

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

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

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

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

Width
Controls the width of the stereo image. At a setting of 0 %, the output of the reverb is
mono, at 100 % it is stereo.

132
Cubase Pro 11.0.0
Included Effect Plug-ins
Reverb Plug-ins

Lock Mix Value

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

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

Modulation Rate
Specifies the frequency of the pitch modulation.

Modulation Depth
Sets the intensity of the pitch modulation.

Modulation Activate
Activates/Deactivates the chorusing effect.

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

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

NOTE

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

Program Matrix
A program is the combination of an impulse response and its settings. These include reverb
settings, EQ settings, pictures, and output settings. The program matrix allows you to load
programs or to view the name of the impulse response.

133
Cubase Pro 11.0.0
Included Effect Plug-ins
Reverb Plug-ins

Program name
In the upper left corner of the plug-in panel, either the name of the loaded impulse
response file or the name of the program is shown. After loading an impulse response,
its number of channels and the length in seconds are displayed for a few seconds.

Browse
This button opens a browser window showing the available programs. If you select a
program in the browser, it is loaded into the active program slot. To filter the list of
impulse responses by room type or the number of channels, for example, activate the
Filters section (by clicking the Set Up Window Layout button at the top right of the
browser window).

Import
Click this button to load your own impulse response files from disk. The files should
have a maximum length of 10 seconds. Longer files are automatically cut.

Program slots
Use these slots to load all the impulse responses that you want to work with in a
session. The selected program slot is indicated by a white frame. Used slots are shown
in blue. A red program slot indicates that the impulse response file is missing. Double-
clicking an empty program slot opens a browser window, showing the available
programs. Clicking a used program slot recalls the corresponding program and loads it
into REVerence. If you move the mouse over a used slot, the corresponding program
name is displayed below the active program name.

Smooth Parameter Changes

This button is located between the program slots and the Store/Erase buttons. If it is
activated, a crossfade is performed when switching programs. Leave this button
deactivated while looking for a suitable program or an appropriate setting for an
impulse response. Once you have set up the program matrix to your liking, activate the
button to avoid hearing artifacts when switching between programs.

Store
Stores the active impulse response and its settings as a program.

Erase
Removes the selected program from the matrix.

Programs vs. Presets

You can save your REVerence settings as VST plug-in presets or programs. Both presets and
programs use the file extension .vstpreset and appear in the same category in the MediaBay,
but they are represented by different icons.

Preset

A REVerence preset contains all settings and parameters for the plug-in, that is, a link
to all loaded impulse responses along with their parameter settings and positions in
the program matrix. Presets are loaded via the presets pop-up menu at the top of the
plug-in panel.

NOTE

Manually imported impulse responses themselves are not part of the program or
preset. If you want to move your project to a different computer, you have to move the
impulse responses as well.

134
Cubase Pro 11.0.0
Included Effect Plug-ins
Reverb Plug-ins

Program

A REVerence program only contains the settings related to a single impulse response.
Programs are loaded and managed via the program matrix.

Presets
Presets are useful in the following situations:

● To save a complete setup with different impulse responses for later use (for example,
different setups for explosion sounds that can be reused for other scenes or movies).
● When you want to save different parameter sets for the same impulse response so that you
can later choose the set that best suits your needs.

Programs
Programs offer the following advantages:

● Up to 36 programs can be loaded into the program matrix for instant recall.
● A program provides a quick and easy way to save and recall the settings for a single impulse
response, allowing for short loading times.
● When automating a project and loading a REVerence program, only one automation event is
written.
If you load a plug-in preset instead (which contains a lot more settings than a program), a lot
of unnecessary automation data (for the settings that you did not use) is written.

RELATED LINKS
Reverb Settings on page 136
EQ Settings on page 138
Pictures Section on page 139
Custom Impulse Responses on page 140
Relocating Content on page 142

Setting up Programs
PROCEDURE
1. In the program matrix, click on a program slot to select it.
A blinking white frame indicates that this program slot is selected.
2. Click the Browse button or click the empty slot again to load one of the included programs.
You can also import a new impulse response file.
3. In the browser, select the program containing the impulse response that you want to use
and click OK.
The name of the loaded impulse response is shown in the upper left corner of the
REVerence panel.
4. Set up the REVerence parameters as and click the Store button to save the impulse
response with the current settings as a new program.
5. Set up as many programs as you need by following the steps above.

NOTE

If you want to use your set of programs in other projects, save your settings as a plug-in
preset.

135
Cubase Pro 11.0.0
Included Effect Plug-ins
Reverb Plug-ins

RELATED LINKS
Importing Impulse Responses on page 140

Reverb Settings
The reverb settings allow you to change the characteristics of the room.

Main
All values shown in the top row apply to all speakers or to the front channels if you are
working with surround tracks.

Rear
If you are working with surround tracks up to 5.1, you can use this row to set up an
offset for the rear channels.

Auto Gain
If this button is activated, the impulse response is automatically normalized.

Reverse
Reverses the impulse response.

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

Time Scaling
Controls the reverb time.

Size
Determines the size of the simulated room.

Level
A level control for the impulse response. This governs the volume of the reverb.

ER Tail Split
Sets a split point between the early reflections and the tail, allowing you to determine
where the reverb tail begins. A value of 60 means that the split point is set to 60 ms.

ER Tail Mix
Allows you to set up the relation of early reflections and tail. Values above 50 attenuate
the early reflections and values below 50 attenuate the tail.

136
Cubase Pro 11.0.0
Included Effect Plug-ins
Reverb Plug-ins

Impulse Response Display

The display section allows you to view the impulse response details and to change the length of
the response.

Time Scaling
This wheel lets you adjust the reverb time.

Play

When clicking this button to apply the loaded impulse response, a short click is played.
This provides a neutral test sound that makes it easier for you to know how different
settings influence the reverb characteristics.

Time Domain
This display shows the waveform of the impulse response.

Spectrogram
This display shows the analyzed spectrum of the impulse response. Time is displayed
along the horizontal axis, frequency along the vertical axis, and volume is represented
by the color.

Information
This display shows additional information, such as the name of the program and the
loaded impulse response, the number of channels, the length, and Broadcast Wave File
information.

Activate Impulse Trimming

Use this button at the bottom right of the impulse display section to activate impulse
trimming. The Trim slider is shown below the Impulse display.

Trim
This slider allows you to trim the start and end of the impulse response. Drag the front
handle to trim the start of the impulse response, and the end handle to trim the reverb
tail.

NOTE

The impulse response is cut without any fading.

137
Cubase Pro 11.0.0
Included Effect Plug-ins
Reverb Plug-ins

EQ Settings
In the Equalizer section, you can tune the sound of the reverb.

EQ curve
Shows the EQ curve. You can use the EQ parameters below the display to change the
EQ curve, or modify the curve manually by dragging the curve points.

Activate EQ
This button to the right of the EQ parameters activates the EQ for the effect plug-in.

Low Shelf On
Activates the low shelf filter that boosts or attenuates frequencies below the cutoff
frequency by the specified amount.

Low Freq (20 to 500)

Sets the frequency of the low band.

Low Gain (-24 to +24)

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

Mid Peak On
Activates the mid peak filter that creates a peak or notch in the frequency response.

Mid Freq (100 to 10000)

Sets the center frequency of the mid band.

Mid Gain(-12 to +12)

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

Hi Shelf On
Activates the high shelf filter that boosts or attenuates frequencies above the cutoff
frequency by the specified amount.

Hi Freq (5000 to 20000)

Sets the frequency of the high band.

Hi Gain (-24 to +24)

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

138
Cubase Pro 11.0.0
Included Effect Plug-ins
Reverb Plug-ins

Pictures Section
In the Pictures section, you can load graphics files to illustrate the setting, for example, the
recording location or microphone arrangement of the loaded impulse response. Up to five
pictures can be loaded.

NOTE

Pictures are only referenced by the plug-in and are not copied to the project folder.

Add
Opens a file dialog where you can navigate to the graphics file that you want to import.
JPG, GIF, and PNG file formats are supported.

Next
If several pictures are loaded, you can click this button to display the next image.

Remove
Deletes the active picture.

NOTE

This does not remove the graphics file from your hard disk.

Output Settings
In the output section, you can control the overall level and determine the dry/wet mix.

Output activity meter

Indicates the overall level of the impulse response and its settings.

Out
Adjusts the overall output level.

139
Cubase Pro 11.0.0
Included Effect Plug-ins
Reverb Plug-ins

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

Lock Mix Value

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

Custom Impulse Responses

In addition to working with the impulse responses included with REVerence, you can import
your own impulse responses and save them as programs or presets. WAVE and AIFF files with a
mono, stereo, true-stereo, or multi-channel (up to 5.0) configuration are supported. If a multi-
channel file contains an LFE channel, this channel is ignored.

REVerence uses the same channel width as the track it is inserted on. When importing impulse
response files with more channels than the corresponding track, the plug-in only reads as many
channels as needed. If the impulse response file contains fewer channels than the track,
REVerence generates the missing channels (for example, the center channel as a sum of the left
and right channels). If the rear channels are missing (when importing a stereo response file onto
a 4.0 track, for example), the left and right channels are also used for the rear channels. In this
case you can use the Rear offset parameter to create more spatiality.

Importing Impulse Responses

REVerence allows you to import your own impulse response files. Before importing these
impulse response files, you can preview their effect.

PREREQUISITE
To preview the effect of impulse response files during the import process, do one of the
following:
● If you use REVerence as an insert effect, play back the event to which you want to add the
effect in a loop.
● If you use REVerence in the Direct Offline Processing window, activate Audition and
Audition Loop.

PROCEDURE
1. In the program matrix, click Import.
2. In the file dialog that opens, navigate to the location of your impulse response files.
3. Optional: Select an impulse response file to preview it.
4. Select the file that you want to import and click Open.
The file is loaded into REVerence. The channels from an interleaved file are imported in the
same order as in other areas of the program (for example, the Audio Connections window),
see below.
5. Make the appropriate settings and add a picture, if available.
Pictures residing in the same folder as the impulse response file or in the parent folder are
automatically found and displayed.
6. Click the Store button to save the impulse response and its settings as a program.
That way you can recall the setup at any time.

RESULT
The program slot turns blue, indicating that a program is loaded.

140
Cubase Pro 11.0.0
Included Effect Plug-ins
Reverb Plug-ins

NOTE

When saving a program, the impulse response file itself is only referenced. It still resides in the
same location as before and is not modified in any way.

AFTER COMPLETING THIS TASK

Repeat these steps for any impulse response files that you want to work with.

Reading Order of Input Channels

REVerence reads input channels in the following order.

Number of input Channel order in REVerence

channels

1 L

2 L/R

3 L/R/C

4 L/R/LS/RS (if inserted on a track with a 4.0 channel configuration)

4 LL/LR/RL/RR (if inserted on a track with a stereo configuration)

5 L/R/C/LS/RS

6 L/R/C/LFE/LS/RS (LFE is being ignored.)

True Stereo
Impulse responses recorded as true-stereo files allow you to create a very realistic impression of
the corresponding room.

REVerence can only process true-stereo impulse response files with the following channel
configuration (in exactly that order): LL, LR, RL, RR.

The channels are defined as follows:

Channel The signal from this source… …was recorded with this
microphone

LL left source left microphone

LR left source right microphone

RL right source left microphone

RR right source right microphone

141
Cubase Pro 11.0.0
Included Effect Plug-ins
Reverb Plug-ins

NOTE

If your true-stereo impulse responses are only available as separate mono files, you can use the
Export Audio Mixdown function to create REVerence compliant interleaved files (see the
Operation Manual).

REVerence automatically works in true-stereo mode if the plug-in is inserted on a stereo track
and you load a 4-channel impulse response.

Therefore, if you are working with surround files, that is, 4-channel impulse responses recorded
with a Quadro configuration (L/R, LS/RS), you need to insert the plug-in on an audio track with a
4.0 configuration. On a stereo track, these files would be processed in true-stereo mode, too.

So how can you prevent REVerence from unintentionally processing surround files in true-stereo
mode? The answer is a Recording Method attribute that can be written to the iXML chunk of the
corresponding impulse response file. Whenever you load an impulse response with a 4-channel
configuration on a stereo track, REVerence searches the iXML chunk of the file. If the plug-in
finds the Recording Method attribute, the following happens:

● If the attribute is set to TrueStereo, the plug-in works in true-stereo mode.

● If the attribute is set to A/B or Quadro, the plug-in works in normal stereo mode and
processes only the L/R channels of the surround file.

NOTE

You can use the Attribute Inspector in the MediaBay to tag your own impulse response files
with the Recording Method attribute. For more information, see the Operation Manual.

Relocating Content
Once you have imported your own impulse responses to REVerence, you can comfortably work
with them on your computer. But what if you need to transfer your content to another computer,
for example, because you work sometimes with a PC and sometimes with a notebook, or you
need to hand over a project to a colleague in the studio?

The factory content is not a problem because it is also present on the other computer. For these
impulse responses, you just need to transfer your REVerence programs and presets to be able to
access your setups.

User content is a different matter, though. If you have transferred your audio files to an external
drive or a different hard disk location on the other computer, REVerence cannot access the
impulse responses any more because the old file paths have become invalid.

PROCEDURE
1. Transfer you audio files to a location that you can access from the second computer (for
example, an external hard disk).
If you keep the files in the same folder structure as on the first computer, REVerence
automatically finds all files contained in this structure.
2. Transfer any REVerence presets or programs that you need to the second computer.
If you are unsure where the presets need to be stored, you can find the paths in the
MediaBay (see the Operation Manual).
3. Open REVerence on the second computer and try to load the preset or program that you
want to work with.
The Locate Impulse Response dialog opens.
4. Navigate to the folder that contains your impulse responses.
5. Click Open.

142
Cubase Pro 11.0.0
Included Effect Plug-ins
Reverb Plug-ins

RESULT
REVerence is now able to access all the impulse responses stored in this location.

IMPORTANT

The new path to these audio files has not been saved yet. To make the files permanently
available without having to use the locate dialog, you need to save your programs or presets
under a different name.

RoomWorks
RoomWorks is a highly adjustable reverb plug-in for creating realistic room ambience and
reverb effects in stereo and surround formats. The CPU usage is adjustable to fit the needs of
any system. From short room reflections to cavern-sized reverb, this plug-in delivers high quality
reverberation.

Input Filters
Low Frequency
Determines the frequency at which the low-shelving filter takes effect. Both the high
and low settings filter the input signal prior to reverb processing.

High Frequency
Determines the frequency at which the high-shelving filter takes effect. Both the high
and low settings filter the input signal prior to reverb processing.

Low Gain
Sets the amount of boost or attenuation for the low-shelving filter.

High Gain
Sets the amount of boost or attenuation for the high-shelving filter.

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

Size
Alters the delay times of the early reflections to simulate larger or smaller spaces.

Reverb Time
Allows you to set the reverb time in seconds.

143
Cubase Pro 11.0.0
Included Effect Plug-ins
Reverb Plug-ins

Diffusion
Affects the character of the reverb tail. Higher values lead to more diffusion and a
smoother sound, while lower values lead to a clearer sound.

Width
Controls the width of the stereo image. At a setting of 0 %, the output of the reverb is
mono, at 100 % it is stereo.

Variation
Clicking this button generates a new version of the same reverb program using altered
reflection patterns. This is helpful if some sounds are causing odd ringing or
undesirable results. Creating a new variation often solves these issues. There are 1000
possible variations.

Hold
Activating this button freezes the reverb buffer in an infinite loop. You can create some
interesting pad sounds using this feature.

Damping
Low Frequency
Determines the frequency below which low-frequency damping occurs.

High Frequency
Determines the frequency above which high-frequency damping occurs.

Envelope
Amount
Determines how much the envelope attack and release controls affect the reverb itself.
Lower values have a more subtle effect while higher values lead to a more drastic
sound.

Attack
The envelope settings in RoomWorks control how the reverb follows the dynamics of
the input signal in a fashion similar to a noise gate or downward expander. Attack
determines how long it takes for the reverb to reach full volume after a signal peak (in
milliseconds). This is similar to a pre-delay, but the reverb is ramping up instead of
starting all at once.

Release
Determines how long after a signal peak the reverb can be heard before being cut off,
similar to a release time of a gate.

144
Cubase Pro 11.0.0
Included Effect Plug-ins
Reverb Plug-ins

Output
Mix
Sets the level balance between the dry signal and the wet signal. If RoomWorks is used
as an insert effect for an FX channel, you most likely want to set this to 100 % or use the
wet only button.

Wet only
This button deactivates the Mix parameter, setting the effect to 100 % wet or affected
signal. This button should normally be activated if RoomWorks is used as a send effect
for an FX channel or a group channel.

Efficiency
Determines how much processing power is used for RoomWorks. The lower the value,
the more CPU resources are used, and the higher the quality of the reverb. Interesting
effects can be created with very high Efficiency settings (>90 %).

Export
Determines if during audio export RoomWorks uses the maximum CPU power for the
highest quality reverb. During export, you may want to keep a higher efficiency setting
to achieve a specific effect. If you want the highest quality reverb during export, make
sure this button is activated.

Output meter
Shows the level of the output signal.

RoomWorks SE
RoomWorks SE is a smaller version of the RoomWorks plug-in. RoomWorks SE delivers high
quality reverberation, but has fewer parameters and is less CPU demanding than the full version.

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

Reverb Time
Allows you to set the reverb time in seconds.

Diffusion
Affects the character of the reverb tail. Higher values lead to more diffusion and a
smoother sound, while lower values lead to a clearer sound.

145
Cubase Pro 11.0.0
Included Effect Plug-ins
Spatial + Panner Plug-ins

Mix
Sets the level balance between the dry signal and the wet signal. When using
RoomWorks SE inserted in an FX channel, you most likely want to set this to 100 %.

Spatial + Panner Plug-ins

Imager
Imager allows you to expand or reduce the stereo width of your audio in up to 4 bands. This
way, you can independently adjust the stereo image in defined frequency domains.

Bands
Sets the number of frequency bands.

Live
If this button is activated, a more analog-style filter bank is used. This mode introduces
no latency and is better suited for live performances. If this button is deactivated, a
more neutral-sounding linear phase filter bank is used, at the cost of introducing
latency.

146
Cubase Pro 11.0.0
Included Effect Plug-ins
Spatial + Panner Plug-ins

Frequency display
Shows a spectrum display and allows you to edit the band range and the output level
for each band.
You can edit the output level of a band or the cutoff frequency between two bands by
dragging the corresponding handle.

Output meter
Shows the level of the overall output signal.

Activate/Deactivate Band
Activates/Deactivates the corresponding frequency band.

Solo Band

Solos the corresponding frequency band.

Phase display
A phase scope for each band indicates the phase and amplitude relationship between
the stereo channels. The phase scope works as follows:
● A vertical line indicates a perfect mono signal (the left and right channels are the
same).
● A horizontal line indicates that the left channel is the same as the right, but with an
inverse phase.
● A fairly round shape indicates a well balanced stereo signal. If the shape leans to
one side, there is more energy in the corresponding channel.
● A perfect circle indicates a sine wave on one channel, and the same sine wave
shifted by 45° on the other.
Generally, the more you can see a thread, the more bass is in the signal, and the more
spray-like the display, the more high frequencies are in the signal.
The phase correlation meters below work as follows:
● The vertical bar shows the current phase correlation.
● With a mono signal, the meter shows +1, indicating that both channels are
perfectly in phase.
● If the meter shows -1, the two channels are the same, but one is inverted.

Show/Hide Phase Scope

Shows/Hides the phase scopes and phase correlation meters for all bands.

Width
Sets the stereo width for the corresponding band.

Pan
Sets the left-right panning for the corresponding band.

Output
Sets the output level for the corresponding band.

MixConvert V6
The MixConvert V6 plug-in can be used to quickly convert a multi-channel mix to a format with a
different channel configuration, for example, to mix down a 7.1 cinema surround format to a 5.1
home theater format.

For a description of MixConvert V6, see the Operation Manual.

147
Cubase Pro 11.0.0
Included Effect Plug-ins
Spatial + Panner Plug-ins

MonoToStereo
MonoToStereo turns a mono signal into a pseudo-stereo signal. The plug-in can be used on a
mono file or a stereo file with equal channels.

NOTE

This plug-in works only on stereo tracks.

Delay
Increases the amount of differences between the left and right channels to further
increase the stereo effect.

Width
Controls the width or depth of the stereo enhancement. Turn clockwise to increase the
enhancement.

Mono
Switches the output to mono, to check for possible unwanted coloring of the sound
which sometimes can occur when creating an artificial stereo image.

Color
Generates additional differences between the channels to increase the stereo
enhancement.

StereoEnhancer
StereoEnhancer expands the stereo width of (stereo) audio material. It cannot be used with
mono files.

NOTE

This plug-in works only on stereo tracks.

148
Cubase Pro 11.0.0
Included Effect Plug-ins
Surround Plug-ins

Delay
Increases the amount of differences between the left and right channels to further
increase the stereo effect.

Width
Controls the width or depth of the stereo enhancement. Turn clockwise to increase the
enhancement.

Mono
Switches the output to mono, to check for possible unwanted coloring of the sound
which sometimes can occur when enhancing the stereo image.

Color
Generates additional differences between the channels to increase the stereo
enhancement.

VST AmbiDecoder
VST AmbiDecoder allows you to convert Ambisonics audio for playback on headphones or multi-
channel speaker setups.

For a description of VST AmbiDecoder, see the Operation Manual.

VST MultiPanner
VST MultiPanner is a surround panner that allows you to position a sound source in the
surround field or to modify existing premixes.

For a description of VST MultiPanner, see the Operation Manual.

Surround Plug-ins

Mix6to2
Mix6to2 lets you quickly mix down your surround mix format to stereo. You can control the
levels of up to six surround channels and decide for each channel up to which level it is included
in the resulting mix.

149
Cubase Pro 11.0.0
Included Effect Plug-ins
Surround Plug-ins

Surround Channels
Volume faders
Determine how much of the signal is included in the left and/or right channel of the
output bus.

Link
Links the volume faders of a surround channel.

Invert Phase
Inverts the phase of the corresponding surround bus channel.

Output Bus
Volume faders
Set the volume of the mixed output.

Link
Links the Output faders.

Normalize
If this option is activated, the mixed output is normalized. For example, the output level
is automatically adjusted so that the loudest signal is as loud as possible without
clipping.

MixerDelay
MixerDelay allows you to adjust and manipulate each individual channel in a surround track,
group, or bus.

M
Allows you to mute individual channels.

S
Allows you to solo individual channels.

Inv
Lets you invert the phase or polarity for individual channels.

Above the individual channel controls, you find global buttons for turning off M, S and Inv for all
channels.

Delay
Allows you to delay individual speaker channels. The delay times are shown in
milliseconds and centimeters, making this feature very useful for distance
compensation when playing back surround mixes on different speaker setups, for
example.

Level
Allows you to fine-tune the volume balance between the surround channels.

150
Cubase Pro 11.0.0
Included Effect Plug-ins
Tools Plug-ins

Volume
Shows the level of the input signal.

Routing
Lets you select/switch the outputs for the channels quickly. You can assign the same
output to several channels by holding down Alt/Opt while selecting. Note that there
are also several channel routing presets available.

NOTE

It is common for the center channel in a 5.1 speaker configuration to be closer to the mix
position in order to accommodate large video monitors or projection screens. MixerDelay can
be used to compensate for the center channel being too close. Simply adjust the delay for the
center channel by the difference in distance (in cm) between it and the other speakers to the mix
position. You must delay the closer speaker so that its sound arrives at the same time as the
sound from the more distant speakers. Note that MixerDelay has a wide range (up to 1000 ms),
and fine adjustments are best made by numerically entering the delay time in centimeters for
speaker alignment.

IMPORTANT

The MixerDelay is not a mixer – the number of outputs is the same as the number of inputs. If
you need to mix down a surround signal to stereo, use the Mix6to2, Mix8to2, or MixConvert V6
plug-ins.

Tools Plug-ins

SMPTEGenerator
SMPTEGenerator is not a real audio effect. It sends out SMPTE timecode to an audio output,
allowing you to synchronize other equipment to your host application (provided that the
equipment can synchronize directly to SMPTE timecode). This can be very useful if you do not
have access to a MIDI-to-timecode converter.

Main timecode display

This display shows the current timecode.
If Link to Transport is deactivated, the generator is in free run mode. You can use the
timecode display to set the SMPTE start time.
If Link to Transport is activated, you cannot change any of the values. This display
shows the current timecode in sync with the Transport panel. Where applicable, the
offset defined in the offset timecode display is taken into account.

Frame rate display and pop-up menu

The frame rate shown to the right of the timecode display corresponds to the frame
rate set in the Project Setup dialog. To generate timecode in a different frame rate (for
example, to stripe a tape), select another format on the pop-up menu (only available if
Link to Transport is deactivated).

151
Cubase Pro 11.0.0
Included Effect Plug-ins
Tools Plug-ins

NOTE

For another device to synchronize correctly to your host, the same frame rate has to be
set in the Project Setup dialog, SMPTEGenerator, and the receiving device.

Offset timecode display

This display is only available if Link to Transport is activated. It allows you to set an
offset with regard to the timecode used by your host application. The offset affects the
generated SMPTE signal, the current cursor position remains unaffected.
For example, use this when playing back video using an external device, where the
video starts at a different timecode position than in your host. A scenario could be as
follows: You have placed the same video several times on the timeline, in order to
record different audio versions for that video one after the other. However, since video
playback is done via an external machine (replaying the same video), you need an
offset to match the different timecode positions in your host with the (unchanging)
start position on the external machine.

Generate Code
If this button is activated, the plug-in generates SMPTE timecode in free run mode,
meaning that it outputs continuous timecode independent from the Transport panel.
Use this mode if you want to stripe tape with SMPTE.

Link to Transport
If this button is activated, the timecode is synchronized to the Transport panel.

Timecode in Still Mode

If this button is activated, the plug-in also generates SMPTE timecode in stop mode.
However, note that this is not continuous timecode, but timecode generated at the
current cursor position. For example, this can be useful when working with video
editing software that interprets the absence of timecode as a stop command. By using
this option, the video software can enter still mode instead so that a still frame is
shown instead of a blank screen.

NOTE

To change one of the timecode values (main and offset timecode displays), double-click on any of
the timecode fields and enter a new value.

Synchronizing a Device to Your Host

PROCEDURE
1. Use the SMPTEGenerator as an insert effect on an audio track, and route that track to a
separate output.
Make sure that no other insert or send effect is used on this track. Deactivate any EQ settings
for this track.
2. Connect the corresponding output on the audio hardware to the timecode input on the
device that you want to synchronize to your host application.
Make all necessary settings for the external device so that it synchronizes to incoming
timecode.
3. Optional: Adjust the level of the timecode, either in your host application or in the receiving
device.
Activate the Generate Code button (make the device send the SMPTE timecode in free run
mode) to test the level.
4. Make sure that the frame rate in the receiving device matches the frame rate set in the
SMPTEGenerator.

152
Cubase Pro 11.0.0
Included Effect Plug-ins
Tools Plug-ins

5. Activate the Link to Transport button.

The SMPTEGenerator now outputs timecode that corresponds to the time display of your
host application.
6. On the Transport panel, click Play.

RESULT
The external device is now synchronized and follows any position changes set with the transport
controls.

TestGenerator
This utility plug-in allows you to generate an audio signal, which can be recorded as an audio file.

The resulting file can then be used for a number of purposes:

● Testing the specifications of audio equipment

● Measurements of various kinds, such as calibrating tape recorders
● Testing signal processing methods
● Educational purposes

The TestGenerator is based on a waveform generator which can generate a number of basic
waveforms such as sine and saw as well as various types of noise. Furthermore, you can set the
frequency and amplitude of the generated signal. As soon as you add the TestGenerator as an
effect on an audio track and activate it, a signal is generated. You can then activate recording as
usual to record an audio file according to the signal specifications.

Waveform and noise section

Allows you to set the basis for the signal generated by the waveform generator. You
can choose between four basic waveforms (sine, triangle, square, and sawtooth) and
three types of noise (white, pink, and brownian).

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

NOTE

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

Gain section
Allows you to set the amplitude of the signal. The higher the value, the stronger the
signal. You can select one of the preset values, or use the slider to set a value between
-81 and 0 dB.

153
Cubase Pro 11.0.0
Included Effect Plug-ins
Tools Plug-ins

Tuner
This is a guitar tuner.

To tune your instrument, connect it to an audio input, select Tuner as an insert effect, and
activate Monitor for the corresponding track. Click Mute if you want to mute the output while
tuning your instrument.

NOTE

Make sure that you deactivate any other effect that alters the pitch, such as a chorus or vibrato.

Tuner offers two different viewing modes, analog view and digital view.

● To toggle between analog view and digital view, click the Toggle between Analog View and
Digital View button.

Analog View

The graphical display indicates the currently played pitch as a note. The two arrows indicate any
pitch deviation. The deviation is also shown in the upper area of the display. If the played note is
flat of the pitch, the pitch indicator is located to the left. If the played note is sharp, the pitch
indicator is located to the right.

Cent
Shows the deviation in pitch. A negative value indicates that the pitch is flat. A positive
value indicates that the pitch is sharp.

Frequency
Shows the frequency of the played note.

Base
Shows the frequency of the base note A. Its default value is 440 Hz. You can adjust
Base by ± 15 Hz.

Octave
Shows the octave of the played note.

Mute
Mutes/Unmutes the output signal.

Digital View
This view provides two tuner modes: Strobe and Classic.

In Strobe mode, a colored moving strobe indicates any pitch deviation. If the played note is flat,
the strobe moves from right to left. If the played note is sharp, the strobe moves from left to
right. The higher the deviation in pitch, the faster the strobe moves. If you play the correct pitch,
the strobe stops moving and turns gray.

154
Cubase Pro 11.0.0
Included Effect Plug-ins
Tools Plug-ins

In Classic mode, an indicator shows any pitch deviation. If the played note is flat, the indicator is
located left of the middle. If the played note is sharp, the indicator is located right of the middle.
If you play the correct pitch, the indicator is located in the middle and turns gray.

Note
Shows the currently played pitch.

Cent
Shows the deviation in pitch. A negative value indicates that the pitch is flat. A positive
value indicates that the pitch is sharp.

Base
Shows the frequency of the base note A. Its default value is 440 Hz. You can adjust
Base by ± 15 Hz.

Octave
Shows the octave of the played note.

Frequency
Shows the frequency of the played note.

Mute
Mutes/Unmutes the output signal.

Strobe/Classic
Allows you to toggle the display between Strobe and Classic mode.

155
Cubase Pro 11.0.0
MIDI Effects

This chapter describes the included MIDI realtime effects and their parameters. How to apply
and handle MIDI effects is described in the Operation Manual.

Arpache 5
A typical arpeggiator accepts a chord as input, and plays back each note in the chord separately,
with the playback order and speed set by the user.

Play Order buttons

Allow you to select the playback order for the arpeggiated notes. If you select User,
you can set the playback order manually using the 12 Play Order slots that are now
shown at the bottom of the dialog.

Step Size
Determines the speed of the arpeggio, as a note value related to the project tempo.
For example, setting this to 16 means the arpeggio is a pattern of 16 notes.

Length
Sets the length of the arpeggio notes, as a note value related to the project tempo.
● To create staccato arpeggios, set a smaller value for Length than for Step Size.
● To create arpeggio notes that overlap each other, set a greater value for Length
than for Step Size.

Key Range
Determines the arpeggiated note range, in semitones counted from the lowest key you
play. This works as follows:
● Any notes you play that are outside this range are transposed in octave steps to fit
within the range.
● If the range is more than one octave, octave-transposed copies of the notes you
play are added to the arpeggio (as many octaves as fit within the range).

156
Cubase Pro 11.0.0
MIDI Effects
Arpache 5

Play Order slots

If the User play order is selected, you can use these slots to specify a custom playback
order for the arpeggio notes: Each of the 12 slots corresponds to a position in the
arpeggio pattern. For each slot, you specify which note should be played on that
position by selecting a number. The numbers correspond to the keys you play, counted
from the lowest key.
For example, if you play the notes C3-E3-G3 (a C major chord), 1 means C3, 2 means E3,
and 3 means G3.

NOTE

You can use the same number in several slots, creating arpeggio patterns that are not
possible using the standard play modes. You need to begin with the leftmost slot and
then fill the slots to the right.

MIDI Thru
If this button is activated, the notes that you play pass through the plug-in and are sent
out together with the arpeggiated notes.

Creating an Arpeggio
PROCEDURE
1. Select a MIDI track and activate monitoring (or record enable it) so that you can play through
the track.
Make sure that the track is properly set up for playback to a suitable MIDI instrument.
2. Select the arpeggiator as an insert effect for the track.
3. Activate the arpeggiator.
4. On the arpeggiator panel, use the Step Size setting to set the arpeggio speed.
5. Use the Length setting to set the length of the arpeggio notes.
6. Set the Key Range parameter to 12.
This makes the notes arpeggiate within an octave.
7. Play a chord on your MIDI instrument.
Now, instead of hearing the chord, you hear the notes of the chord played one by one, in an
arpeggio.
8. Try the different arpeggio modes by clicking the Play Order buttons.
The symbols on the buttons indicate the playback order for the notes.

157
Cubase Pro 11.0.0
MIDI Effects
Arpache SX

Arpache SX
This is a versatile and advanced arpeggiator, capable of creating anything from traditional
arpeggios to complex, sequencer-like patterns.

Classic vs. Sequence Mode

Arpache SX has two different modes: Classic and Sequence. The Classic mode determines the
basic behavior of Arpache SX. Sequence mode uses the events of an additional MIDI part as a
pattern. This pattern forms the basis for the arpeggio, in conjunction with the MIDI input.

Classic Mode
Direction
Allows you to choose how the notes in the played chord should be arpeggiated.

One Shot Mode

Activate this option if you want the phrase to be played only once. If this option is
deactivated, the phrase is looped.

Transpose
With a setting other than Off, the arpeggio is expanded upwards, downwards, or both
(depending on the mode). This is done by adding transposed repeats of the basic
arpeggio pattern.

Repeats
Sets the number of transposed repeats.

Pitch Shift
Determines the transposition of each repeat.

MIDI Thru
If this is activated, the played notes pass through the plug-in and are sent out together
with the arpeggiated notes.

Step Size
Determines the resolution of the arpeggio, that is, its speed (in fixed note values or
PPQ, if the PPQ button is activated). In Sequence mode you can also activate the from
sequence option.

Length
Determines the length of the arpeggio notes (in fixed note values or PPQ, if the PPQ
button is activated).

158
Cubase Pro 11.0.0
MIDI Effects
Arpache SX

Max. Polyphony
Determines how many notes should be accepted in the input chord. The All setting
means there are no limitations.

Sort by
If you play a chord, the arpeggiator sorts the notes in the chord in the order specified
here. For example, if you play a C-E-G chord, with Note Lowest selected, C is the first
note, E is the second and G the third. This affects the result of the Arp Style setting.

Velocity
Determines the velocity of the notes in the arpeggio. Using the slider you can set a
fixed velocity, or you can activate the via Input button to use the velocity values of the
notes in the chord you play. In Sequence mode you can also activate the from
sequence option.

Sequence Mode
In Sequence mode, you can import a MIDI part into Arpache SX by dragging it from the Project
window onto the Drop MIDI Sequence field on the right of the Arpache SX panel.

The notes in the dropped MIDI part are sorted internally, either according to their pitch if the
MIDI Seq. sort by pitch checkbox is activated or according to their play order in the part. This
results in a list of numbers. For example, if the notes in the MIDI part are C E G A E C and they are
sorted according to pitch, the list of numbers reads 1 2 3 4 2 1. Here, there are 4 different notes/
numbers and 6 trigger positions.

The MIDI input (the chord you play) generates a list of numbers, with each note in the chord
corresponding to a number depending on the Sort by setting.

Furthermore, the two lists of numbers are matched – Arpache SX tries to play back the pattern
from the dropped MIDI part but using the notes from the MIDI input. The result depends on the
Play Mode setting.

Trigger
The whole pattern from the dropped MIDI file is played back, but transposed according
to one of the notes in the MIDI input. Which note is used for transposing depends on
the Sort by setting.

Trigger Cnt.
As above, but even if all keys are released, the phrase continues playing from the last
position (where it stopped), if a new key is pressed on the keyboard. This is typically
used when playing live through the Arpache SX.

Sort Normal
Matches the notes in the MIDI input with the notes in the dropped MIDI part. If there
are fewer notes in the MIDI input, some steps in the resulting arpeggio remain empty.

Sort First
As above, but if there are fewer notes in the MIDI input, the missing notes are replaced
by the first note.

Sort Any
As above, but if there are fewer notes in the MIDI input, the missing notes are replaced
by random notes.

Arp. Style
As above, but if there are fewer notes in the MIDI input, the missing notes are replaced
by the last valid note in the arpeggio.

159
Cubase Pro 11.0.0
MIDI Effects
Auto LFO

Repeat
In this mode, the chords played are not separated into notes. Instead, they are used as
is, and only the rhythm of the dropped MIDI part is used for playback.

NOTE

You can choose to keep the original note timing, note length, and note velocities from the
dropped MIDI part, by selecting from sequence for the Step Size, Length, and Velocity options.

Auto LFO
This effect works like an LFO in a synthesizer, allowing you to send out continuously changing
MIDI controller messages. One typical use for this is automatic MIDI panning, but you can select
any MIDI continuous controller event type.

Waveform
Determines the shape of the controller curves that are sent out. You can click a
waveform symbol or choose a value from the pop-up menu.

Wavelength
Sets the speed of Auto LFO, or rather the length of a single controller curve cycle. You
can set this to rhythmically exact note values or PPQ values if the PPQ button is
activated. The lower the note value, the slower the speed.

Controller Type
Determines which continuous controller type is sent out. Typical choices would include
pan, volume, and brightness, but your MIDI instrument may have controllers mapped
to various settings, allowing you to modulate the synth parameter of your choice.
Check the MIDI implementation chart for your instrument for details.

Density
Determines the density of the controller curves that are sent out. The value can be set
to small, medium, or large, or to rhythmically exact note values. The higher the note
value, the smoother the controller curve.

Value Range
These sliders determine the range of controller values that are sent out, in other
words, the bottom and top of the controller curves.

160
Cubase Pro 11.0.0
MIDI Effects
Beat Designer

Beat Designer
Beat Designer is a MIDI pattern sequencer that allows you to create your own drum parts or
patterns for a project. With Beat Designer, you can quickly and easily set up the drums for a
project, by experimenting and creating new drum sequences from scratch.

Normally, you work on a short sequence, adjusting and modifying it while playing it back in a
loop. The drum patterns can then either be converted to MIDI parts on a track or triggered using
MIDI notes during playback.

Control Panel

1 Step display
2 Jump mode
3 Swing and Offset controls
4 Flam position settings
5 Pattern display
6 Swing settings

Patterns and Subbanks

Beat Designer patterns are saved as pattern banks. One pattern bank contains 4 subbanks
which in turn contain 12 patterns each.

In the pattern display in the lower part of Beat Designer, subbanks and patterns are displayed
graphically. To select a subbank, click a number (1 to 4) at the top of the display. To select a
pattern within this subbank, click a key in the keyboard display below.

Initial Settings
The steps represent the beat positions in the pattern. You can specify the number of steps and
the step resolution globally for a pattern.

161
Cubase Pro 11.0.0
MIDI Effects
Beat Designer

● Click in the Number of steps for this pattern value field and enter a value. The maximum
number of steps is 64.
● The playback length, that is, the note value for the steps, can be specified on the Step
Resolution pop-up menu. On this menu, you can also set triplet values. These also affect the
Swing setting.

RELATED LINKS
Triggering Patterns on page 167
Swing Setting on page 164

Selecting Drum Sounds

PROCEDURE
1. Click in the drum name field for a lane and select a drum sound from the pop-up menu.
The available drum sounds depend on the selected drum map. If no drum map is selected
for the track, the GM (General MIDI) drum names are used.
2. To find the right sound, audition the selected drum sound by clicking the Preview
Instrument button (the speaker icon).

Entering Drum Steps

PREREQUISITE
When working on drum patterns, it is a good idea to play back a section of the project in a loop
while inserting the drum sounds. This allows you to hear the result immediately.

PROCEDURE
● Enter a drum step by clicking on the step field where you want to add a beat.
For example, add a snare drum on each downbeat for a lane and a bass drum on a second
lane.

NOTE

You can also click and drag to enter a continuous range of drum steps.

Removing Steps
PROCEDURE
● To remove a drum step, simply click on the corresponding field again.

NOTE

To remove a range of drum steps, click and drag over them.

Velocity Settings
When entering a drum step, the velocity setting of this step is determined by where you click:
Click in the upper part of a step for the highest velocity setting, in the middle section for a
medium velocity and in the lower part for the lowest velocity setting. In the display, the different
velocity settings are indicated by different colors.

162
Cubase Pro 11.0.0
MIDI Effects
Beat Designer

● To fine-tune the velocity setting for an existing drum step, click on it and drag up or down.
The current velocity is indicated numerically while you drag.
● To fine-tune the velocity for a range of drum steps, click on the first step, drag up or down to
enter velocity edit mode, and then drag sideways and up or down to modify the velocity for
all the steps.
If you change the velocity for several steps at the same time, the relative velocity differences
are kept for as long as possible (until the minimum or maximum setting is reached). The
velocity for the steps is increased or decreased by the same amount.

NOTE

If you hold down Shift while dragging up or down, you can change the velocity for all steps
on a lane.

● To create a crescendo or decrescendo for an existing range of drum steps, hold down Alt/
Opt , click on the first step, drag up or down, and then drag to the left or right.

Editing Operations
● To move all drum steps on a lane, hold down Shift , click on the lane, and drag to the left or
right.
● To invert a lane, that is, add drum sounds for all steps that were empty while removing all
existing drum steps, hold down Alt/Opt and drag the mouse over the lane. This lets you
create unusual rhythmic patterns.
● To copy the content of a lane onto another lane, hold down Alt/Opt , click in the section to
the left of the lane that you want to copy, and drag.

Lane Handling
● To add a lane, click the Add Instrument Lane button at the bottom right of the last lane.
● To remove a lane, click the Remove Instrument Lane button in the controls section at the
far right of the lane.
● To change the order of the drum lanes, click in an empty area in the section to the left of a
lane, and drag it to another position.
● To mute or solo a lane, click the corresponding buttons to the left of the step display.

IMPORTANT

Lane operations always affect all patterns in the Beat Designer instance.

Pattern Functions Menu

163
Cubase Pro 11.0.0
MIDI Effects
Beat Designer

Shift Left
Moves all steps of the current pattern on all lanes to the left.

Shift Right
Moves all steps of the current pattern on all lanes to the right.

Reverse
Reverses the pattern, so that it plays backwards.

Copy Pattern
Copies the pattern to the clipboard. Copied patterns can be pasted into another
pattern subbank and even directly into the project.

Paste Pattern
Allows you to paste a complete pattern, for example, into another pattern subbank, or
into another instance of Beat Designer. This is useful if you want to create variations
based on existing patterns.

Clear Pattern
Resets the current pattern.

Insert Pattern at Cursor

Creates a MIDI part for the current pattern and inserts it in the Project window, at the
position of the project cursor.

Insert Subbank at Cursor

Creates a MIDI part for each used pattern in the subbank and inserts the parts one
after the other, starting at the project cursor.

Insert Pattern at Left Locator

Creates a MIDI part for the current pattern and inserts it in the Project window, at the
left locator.

Insert Subbank at Left Locator

Creates a MIDI part for each used pattern in the subbank and inserts the parts one
after the other, starting at the left locator.

Fill Loop with Pattern

Creates a MIDI part for the current pattern and inserts it in the Project window as
often as needed to fill the current loop area.

NOTE

In the Key Commands dialog, you can set up key commands for the Insert options and the Fill
Loop command. How to set up and use key commands is described in the Operation Manual.

RELATED LINKS
Converting Patterns into MIDI Parts on page 166

Swing Setting
This parameter can be used to create a swing or shuffle rhythm. This adds a more human feel to
drum patterns that might otherwise be too static.

Swing offsets every second drum step for a lane. If a triplet step resolution is used, every third
drum step is offset instead.

In the lower right section of the Beat Designer panel, you can find two Swing sliders. You can
set up two swing settings with these sliders and then quickly switch between these during
playback.

164
Cubase Pro 11.0.0
MIDI Effects
Beat Designer

● To delay every second or third drum step in the pattern, drag a slider to the right.
● To make a drum step play earlier in the pattern, drag a slider to the left.
● To switch between the swing settings, click the Swing buttons to the right of the step
display.

● To deactivate swing for a lane, click on the selected Swing buttons.

Flams
The Flam parameter lets you add flams, that is, short secondary drum hits just before or after
the actual main drum beat. You can add up to three flams for each pattern step.

In the lower left section of the Beat Designer panel you can make settings for the flams you
created.

The first position slider specifies the flam position for all steps containing one single flam, the
second slider the flam positions for all steps containing two flams, and the third slider the flam
position for all steps containing three flams.

Adding Flams
PROCEDURE
1. Click in the lower left corner of the step you want to add a flam to.
Little squares appear in the step when you point the mouse at it. If you click a step, the first
square is filled to indicate that you added a flam.

2. Click again to add the second and third flam.

3. In the lower left section of the Beat Designer panel, make settings for the flams that you
created.
● To add the flams before or after the drum step, drag a position slider to the left or right.
If you add flams before the first drum step in a pattern, this is indicated in the display by
a small arrow in the top left corner of this step. Starting playback at the normal pattern
start would result in these flams not being played.
● To set the velocity for the flams, use the vertical sliders to the right of the flam sliders.
4. Start playback to hear the flams you created.

Offsetting Lanes
To the right of the step display, you can find the Offset sliders for the lanes. These allow you to
offset all drum steps on this lane.

165
Cubase Pro 11.0.0
MIDI Effects
Beat Designer

PROCEDURE
1. Drag a slider to the left to make the drum steps start a little earlier and to the right to let
them start later.
For example, playing the bass drum or snare a little earlier allows you to add more urgency
to the drums, while delaying these drum sounds results in a more relaxed drum pattern.
2. Experiment with the settings to find out which fit best in your project.

NOTE

This function can also be used to correct faulty drum samples: If a drum sound has an attack
that is slightly late, simply adjust the Offset slider for the lane.

Using the Drum Patterns in Your Project

Converting Patterns into MIDI Parts

You can convert the drum patterns created in Beat Designer into a MIDI part by dragging them
into the Project window.

PROCEDURE
1. Set up one or more patterns of the same subbank.
2. In the lower part of the window, click on a pattern or subbank and drag it onto a MIDI or
instrument track in the Project window.
● If you drag the pattern or subbank to an empty area in the Project window, a new MIDI
track is created. This is an exact copy of the original track for which you opened Beat
Designer.

● If you drag a single pattern into the Project window, one MIDI part is created containing
the drum sounds of the pattern.
● If you drag a subbank into the Project window, several MIDI parts (one for each used
pattern in the subbank) are created and inserted one after the other in the project.

IMPORTANT

Only the used patterns in a subbank are inserted. If you did not enter drum steps in a
pattern, this is not converted into a MIDI part.

You can also use the Pattern Functions menu to insert patterns or subbanks into the
project.

IMPORTANT

When you have created MIDI parts for your drum patterns this way, make sure to deactivate
Beat Designer, to avoid doubling of the drums. Beat Designer continues to play as long as
it is activated.

● If you import patterns that sound before the first step (due to flams or lane offsets), the
MIDI part is lengthened accordingly.
The inserted MIDI parts can now be edited as usual in the project. For example, you can fine-
tune your settings in the Drum Editor.

166
Cubase Pro 11.0.0
MIDI Effects
Chorder

NOTE

Once a pattern is converted into a MIDI part, it cannot be opened in Beat Designer again.

RELATED LINKS
Pattern Functions Menu on page 163

Triggering Patterns
If you want to modify your drum patterns in Beat Designer while working on the project, you
can trigger the patterns from within the project.

You can trigger the patterns in Beat Designer using note-on events. These can either be events
on a MIDI track or be played live via a MIDI keyboard. Which pattern is triggered depends on the
pitch of the MIDI notes. The trigger range is four octaves starting with C1 (that is, C1 to B4).

PROCEDURE
1. Open Beat Designer for a track.
2. Activate Jump.

In this mode, a MIDI note-on event triggers a new pattern.

● To trigger the patterns using a MIDI part containing trigger events, you can specify
whether the pattern is switched instantly (at the moment the event is received) or at the
next bar: Activate Now to switch patterns immediately. If Now is deactivated, patterns
switch at the beginning of the next bar in the project.
● If you want to trigger the patterns live via a MIDI keyboard, the new patterns are always
played when the next bar in the project is reached. Switching immediately would always
produce an undesirable interruption in playback.
3. Play back the project and press a key on your MIDI keyboard to trigger the next pattern.
The pattern starts at the next bar line.
4. Create a MIDI part and enter notes at the positions in the project where you want to switch
patterns.
Depending on the Jump mode setting, the new pattern is played instantly, or starts at the
following bar.
● You can also drag a pattern or subbank into the project with Jump mode activated to
automatically create MIDI parts containing the trigger events.

NOTE

When triggering a pattern that contains sound before the first step (due to flams or lane
offsets), these are taken into account as well.

Chorder
Chorder is a MIDI chord processor, allowing you to assign complete chords to single keys in a
multitude of variations. These can then be played back live or using recorded notes on a MIDI
track.

There are three main operating modes: All Keys, One Octave, and Global Key. You can switch
between these modes using the Chords pop-up menu.

167
Cubase Pro 11.0.0
MIDI Effects
Chorder

For every key, you can record up to 8 different chords or variations on so-called layers.

Operating Modes
In the lower left section of the Chorder window, you can choose an option from the Chords pop-
up menu to decide which keys in the keyboard display are used to record your chords.

All Keys
In this mode, you can assign chords to each key on the keyboard display. If you play
any of these keys, you hear the assigned chords instead.

One Octave
This mode is similar to the All Keys mode, but you can only set up chords for each key
of a single octave, that is, up to eight different chords on twelve keys. If you play a note
in a different octave, you hear a transposed version of the chords set up for this key.

Global Key
In this mode, you can set up chords for a single key only. These chords (that you
recorded on C3) are then played by all keys on the keyboard, but transposed according
to the note you play.

Chord Indicator Lane

At the top of the keyboard display, you find a thin lane with a small rectangle for each key that
you can use to record a chord. These rectangles are shown in blue for all keys that already have
chords assigned to them.

NOTE

In Global Key mode, the C3 key has a special marking, because this is the only key used in this
mode.

The keyboard display in Learn mode

The second layer in Learn mode

2. Select the key to which you want to assign a chord by clicking on it on the keyboard display
or by pressing the key on a connected MIDI keyboard.
The red bar now moves to the first layer, indicating that you are ready to record the first
chord.

NOTE

In Global Key mode, you do not have to choose a trigger key. The first layer is activated
automatically.

3. Play a chord on the MIDI keyboard and/or use the mouse to enter or change the chord in the
layer display.
● Any notes you enter are immediately shown in the Chorder display. The notes are
shown in different colors, depending on the pitch.
● If you are entering chords via a MIDI keyboard, Chorder learns the chord as soon as you
release all keys of your MIDI keyboard.
As long as a key is pressed, you can continue looking for the right chord.
● If more than one layer is shown, Chorder jumps automatically to the next layer where
you can record another chord.
If all layers for a key are filled, the red bar jumps back to the keyboard display so that
you can choose a different trigger key (in Global Key mode, the Learn mode is
deactivated).
● If you are entering chords with the mouse, Chorder does not jump to the next layer
automatically.
You can select/deselect as many notes as you want and then click on another layer or
deactivate the Learn mode to continue.
4. Repeat the above with any other keys you want to use.

Using Layers
The Layers pop-up menu at the bottom right of the window allows you to set up chord variations
in the layer display above the keyboard. This works with all three modes and provides up to 8
variations for each assignable key, that is, a maximum of 8 different chords in Global Key mode,
12 x 8 chords in One Octave mode and 128 x 8 chords in All Keys mode.

The different layers can be triggered by velocity or interval.

169
Cubase Pro 11.0.0
MIDI Effects
Chorder

PROCEDURE
1. On the Layers pop-up menu, select Velocity or Interval. Set this to Single Mode if you want
to set up only one chord per key.
2. Use the slider below the Layers pop-up menu to specify how many variations you want to
use.
3. Enter the chords.

RESULT
Now you can play the keyboard and trigger the variations according to the selected layer mode.

The following applies:

● Empty layers are filled from bottom to top.

● If there are empty layers below the first layer with a chord, these are filled from top to
bottom.

An example: If you have a setup with 8 layers, and you enter the chord C in layer 3 and G7 in
layer 7, you get the following result: chord C in layers 1 to 6 and G7 in layers 7 and 8.

Resetting Layers
PROCEDURE
● In Learn mode, click Reset layers at the top left of the Chorder window.

170
Cubase Pro 11.0.0
MIDI Effects
Compressor

RESULT
For the selected trigger key, all notes in the different layers are deleted.

Playstyle
From the Playstyle pop-up menu at the bottom of the panel, you can choose one of seven
different styles that determine in which order the individual notes of the chords are played back.

simultaneous
In this mode, all notes are played back simultaneously.

fast up
In this mode, a small arpeggio is added, starting with the lowest note.

slow up
Similar to fast up, but using a slower arpeggio.

fast down
Similar to fast up, but starting with the highest note.

slow down
Similar to slow up, but starting with the highest note.

fast random
In this mode, the notes are played back in a rapidly changing random order.

slow random
Similar to fast random, but the note changes occur more slowly.

Compressor
This MIDI compressor is used for evening out or expanding differences in velocity.

Threshold
Only notes with velocities above this value are affected by the compression/expansion.

Ratio
Sets the amount of compression applied to the velocity values above the set threshold.
Ratios greater than 1:1 result in compression. Ratios lower than 1:1 result in expansion.

Gain
Adds or subtracts a fixed value from the velocities. Since the maximum range for
velocity values is 0 to 127, you can use the Gain setting to compensate, keeping the
resulting velocities within the range. Typically, negative Gain settings are used for
expansion and positive settings for compression.

171
Cubase Pro 11.0.0
MIDI Effects
Context Gate

Context Gate
Context Gate allows for selective triggering/filtering of MIDI data.

This effect features two modes: In Poly Mode, Context Gate recognizes certain chords that are
played. In Mono Mode, only certain MIDI notes are let through.

Poly Mode
Polyphony Gate
Allows you to filter MIDI according to the number of pressed keys within a given key
range. This can be used independently or in conjunction with the Chord Gate function.
● The Key Range Limit sliders set the key range. Only notes within this range are let
through.
● The Minimum Polyphony value field allows you to specify the minimum number
of notes required to open the gate.

Chord Gate
If Chord Gate is activated, only notes in recognized chords are let through. Two
Recognition modes are available: Simple and Normal.
● In Simple mode, all standard chords (major/minor/b5/dim/sus/maj7 etc.) are
recognized.
● Normal mode takes more tensions into account.

Mono Mode
Channel Gate
If this is activated, only single note events of the specified MIDI channel are let
through. This can be used with MIDI controllers that can send MIDI on several
channels simultaneously, for example, guitar controllers which send data for each
string over a separate channel.
● You can set Mono Channel to a specific channel (1 to 16), or to Any, that is, no
channel gating.

Velocity Gate
This can be used independently or in conjunction with the Channel Gate function.
Notes are played back until another note within the set range is played.
● The Key Range Limit sliders set the key range. Only notes within this range are let
through.
● Notes below the Minimum Velocity threshold value are gated.

172
Cubase Pro 11.0.0
MIDI Effects
Density

Auto Gate Time

If there is no input activity, you can specify the time, after which note-off messages are
sent for the notes that are playing.

Panic Reset
Sends an “All Notes Off” message over all channels, in case of hanging notes.

Learn Reset
If this is activated, you can specify a reset trigger event via MIDI. Whenever this specific
MIDI event is sent, it triggers an “All Notes Off” message. When you have set the reset
event, deactivate the Learn Reset button.

RELATED LINKS
Application Examples on page 173

Application Examples
Poly Mode
In this mode, you can use Context Gate to accompany yourself during a live guitar performance
using a VST instrument. To do this, you might use a guitar-to-MIDI converter: You could then
program Context Gate, for example, to allow only those notes to pass the gate that are part of a
four-note chord. During your performance you would then play a four-note chord every time that
you want to trigger the VST instrument. The instrument plays until the Auto Gate Time is
reached and fades out. For more complex performances this can be combined with an
arpeggiator, without having to use external pedals to trigger the effect.

Mono Mode
In this mode you could use Context Gate to trigger variations played with a drum machine/VST
instrument. To do this, you need a guitar-to-MIDI converter: You could then filter the MIDI
channel using the Input Transformer (optional) and program the Context Gate to allow only
certain notes on your guitar to pass the gate (for example, beginning at the 12th band). When
you now play one of these notes, the note-off command is not send out and the corresponding
note sounds until the note is played again, a new note is let through, or the Auto Gate Time is
reached. This way you can trigger lots of different effects or notes using the high notes on you
guitar without having to use an additional MIDI instrument.

Density

This generic control panel affects the density of the notes being played from or through the
track. If this is set to 100 %, the notes are not affected. Density settings below 100 % randomly
filter out or mute notes. Settings above 100 % randomly add notes that were played before.

173
Cubase Pro 11.0.0
MIDI Effects
MIDI Control

MIDI Control
This generic control panel allows you to select up to 8 different MIDI controller types and set
values for these. You can then use the plug-in as a control panel to adjust the sound of a MIDI
instrument from within your host application.

● To select a controller type, use the pop-up menus on the right.

● To change the value of a controller type, enter a value in the value field or click the value field
and drag the cursor up or down.
● To deactivate a controller, type Off in the value field or click the value field and drag the
cursor down until the value field displays Off.

MIDI Echo
This is an advanced MIDI echo, which generates additional echoing notes based on the MIDI
notes it receives. It creates effects similar to a digital delay, but also features MIDI pitch shifting
and much more.

The effect does not echo the actual audio, but the MIDI notes which eventually produce the
sound in the synthesizer.

Velocity Offset
Allows you to raise or lower the velocity values for each repeat so that the echo fades
away or increases in volume (provided that the sound you use is velocity sensitive).

Pitch Offset
If you set this to a value other than 0, the echoing notes are raised or lowered in pitch,
so that each successive note has a higher or lower pitch than the previous. The value is
set in semitones.
For example, setting this to -2 causes the first echo note to have a pitch two semitones
lower than the original note, the second echo note two semitones lower than the first
echo note, and so on.

174
Cubase Pro 11.0.0
MIDI Effects
MIDI Echo

Repeats
The number of echoes (1 to 12) of each incoming note.

Beat Align
During playback, this parameter quantizes the position of the first echo note. You can
either set this to rhythmically exact values or activate the PPQ button and choose a
PPQ value.
Setting this to 1/8, for example, causes the first echo note to sound on the first eighth
position after the original note.

NOTE

The echo time can also be affected by the Delay Decay parameter.

NOTE

During live mode, this parameter has no effect since the first echo is always played
together with the note event itself.

Delay
The echoed notes are repeated according to this value. You can either set this to
rhythmically exact values or activate the PPQ button and choose a PPQ value. This
makes it easy to find rhythmically relevant delay values, but still allows for
experimental settings in between.

Delay Decay
Adjusts how the echo time changes with each successive repeat. The value is set as a
percentage.
● If this is set to 100 % the echo time is the same for all repeats.
● If you raise the value above 100 %, the echoing notes play with gradually longer
intervals, that is, the echo becomes slower.
● If you lower the value below 100 %, the echoing notes become gradually faster, like
the sound of a bouncing ball.

Length
Sets the length of the echoed notes. This can either be identical with the length of the
original notes (parameter set to its lowest value) or the length you specify manually.
You can either set this to rhythmically exact values (displayed as note values – see the
table below) or activate the PPQ button and choose a PPQ value.

NOTE

The length can also be affected by the Length Decay parameter.

Length Decay
Adjusts how the length of the echoed notes changes with each successive repeat. The
higher the setting, the longer the echoed notes.

About Ticks and Note Values

The timing and position-related parameters (Delay, Length, and Beat Align) can all be
set in ticks. There are 480 ticks to each quarter note. The parameters allow you to step
between the rhythmically relevant values. The following table shows the most common
note values and the corresponding number of ticks.

Note Value Ticks

1/32 note 60

175
Cubase Pro 11.0.0
MIDI Effects
MIDI Modifiers

Note Value Ticks

1/16 note triplet 90

1/16 note 120

1/8 note triplet 160

1/8 note 240

Quarter note triplet 320

Quarter note 480

Half note 960

MIDI Modifiers
This plug-in is essentially a duplicate of the MIDI Modifiers section in the Inspector. This can be
useful, for example, if you need extra Random or Range settings.

The MIDI Modifiers effect also includes the Scale Transpose function that is not available
among the track parameters.

Scale Transpose

Allows you to transpose each incoming MIDI note, so that it fits within a selected musical scale.
The scale is specified by selecting a key (C, C#, D, etc.) and a scale type (major, melodic or
harmonic minor, blues, etc.).

● To deactivate Scale Transpose, select No Scale from the Scale pop-up menu.

MIDI Monitor
This effect monitors incoming MIDI events.

You can choose whether to analyze live or playback events and which types of MIDI data are to
be monitored. Use this, for example, to analyze which MIDI events are generated by a MIDI track,
or to find suspicious events, such as notes with velocity 0 that certain MIDI devices might fail to
interpreted as note-off events.

176
Cubase Pro 11.0.0
MIDI Effects
Micro Tuner

Inputs Section
In this section, you can choose whether to monitor live events or playback events.

Show Section
Here, you can activate/deactivate the different types of MIDI events. If you choose
Controller, you can also define which type of controller to monitor.

Data Table
In the table in the lower section of the window, you see detailed information about the
monitored MIDI events.

Buffer Pop-up Menu

This is the maximum number of events that is kept in the list of monitored events.
Once this list is full, the oldest entries are deleted when new events are received.

NOTE

The larger the buffer, the more processing resources are required.

Export
Allows you to export the monitoring data as a simple text file.

Record Events
This button to the left of the Inputs section allows you to start or stop the monitoring
of MIDI events.

Clear List
This button to the left of the Show section allows you to clear the table of recorded
MIDI events.

Micro Tuner

Micro Tuner lets you set up a different microtuning scheme for the instrument, by detuning
each key.

● Each detune slider corresponds to a key in an octave (as indicated by the keyboard display).
Adjust a detune field to raise or lower the tuning of that key, in cents (hundreds of a
semitone).
● You can set the root note that is taken as a reference for the detuning.
● You can adjust all keys by the same amount by keeping Alt/Opt pressed.

Micro Tuner comes with a number of presets, including both classical and experimental
microtuning scales.

177
Cubase Pro 11.0.0
MIDI Effects
Note to CC

Note to CC

This effect generates a MIDI continuous controller event for each incoming MIDI note. The value
of the controller event corresponds to the velocity of the MIDI note, which is then used to control
the selected MIDI controller (by default CC 7, Main Volume). For each note end, another
controller event with the value 0 is sent. The incoming MIDI notes pass through the effect
unaffected.

The purpose of this plug-in is to generate a gate effect. This means that the notes that are played
control something else. For example, if Main Volume (CC 7) is selected, notes with low velocity
lower the volume in the MIDI instrument, while notes with a high velocity raise the volume.

IMPORTANT

A controller event is sent out each time a new note is played. If high and low notes are played
simultaneously, this may lead to confusing results. Therefore, the Note to CC effect is best
applied to monophonic tracks.

Quantizer
This effect allows you to apply quantizing in realtime. This makes it easier to try out different
settings when creating grooves and rhythms.

Quantizing is a function that changes the timing of notes by moving them towards a quantize
grid. For example, this grid may consist of straight sixteenth notes, in which case the notes all get
perfect sixteenth note timing.

NOTE

The main Quantize function in your Steinberg DAW is described in the Operation Manual.

Quantize Note
Sets the note value on which the quantize grid is based. Straight notes, triplets. and
dotted notes are available. For example, 16 means straight sixteenth notes and 8T
means eighth note triplets.

Swing
Allows you to offset every second position in the grid, creating a swing or shuffle feel.
The value is a percentage – the higher you set this, the farther to the right every even
grid position is moved.

Strength
Determines how close the notes should be moved to the quantize grid. If this is set to
100 %, all notes are forced to the closest grid position. Lowering the setting gradually
loosens the timing.

178
Cubase Pro 11.0.0
MIDI Effects
StepDesigner

Delay
Sets the delay time in milliseconds. This delay can be automated.

Realtime quantize
During live mode, this option can be used to change the timing of the notes that are
played so that they fit the quantize grid.

StepDesigner
StepDesigner is a MIDI pattern sequencer that sends out MIDI notes and additional controller
data according to the defined pattern. It does not make use of the incoming MIDI, other than
automation data (such as recorded pattern changes).

1 Shift octave up/down

2 Shift steps left/right
3 Number of steps
4 Step size
5 Swing
6 Controller pop-up menu
7 Pattern selector

Creating a Basic Pattern

PROCEDURE
1. Use the Pattern selector to choose which pattern to create.
Each StepDesigner can hold up to 200 different patterns.
2. Use the Step size setting to specify the resolution of the pattern.
This setting determines the step length.
3. Specify the number of steps in the pattern with the Number of steps setting.
The maximum number of steps is 32. For example, setting Step size to 16 and Number of
steps to 32 creates a 2 bar pattern with sixteenth note steps.
4. Click in the note display to insert notes.

179
Cubase Pro 11.0.0
MIDI Effects
StepDesigner

You can insert notes on any of the 32 steps, but StepDesigner only plays back the number of
steps set with the Step size parameter.
● The display spans one octave (as indicated by the pitch list to the left). You can scroll the
displayed octave up or down by clicking in the pitch list and dragging up or down.
This way you can insert notes at any pitch.

● To remove a note from the pattern, click on it again.

NOTE

Each step can contain one note only – StepDesigner is monophonic.

RESULT
If you now start playback in your host application, the pattern plays as well, sending out MIDI
notes on the track’s MIDI output and channel (or, if you activated StepDesigner as a send effect,
on the MIDI output and channel selected for the send in the Inspector).

Adding Controller Curves

PROCEDURE
1. Open the Controller pop-up menu and select a controller.
The selection is displayed in the lower controller display.
2. Click in the controller display to draw events.
The MIDI controller events are sent out during playback along with the notes.

NOTE

If you drag a controller event bar all the way down, no controller value is sent out on that
step.

Setting Up the Controller Menu

You can specify which two controller types (filter cutoff, resonance, volume, etc.) should be
available on the Controller pop-up menu.

PROCEDURE
1. Click Setup.
2. Select the controllers that you want to have available in the Controller pop-up menu and
click OK.
This selection is global, that is, it applies to all patterns.

180
Cubase Pro 11.0.0
MIDI Effects
StepDesigner

Adjusting the Step Length

● To make notes shorter, select Gate on the Controller pop-up menu and lower the bars in
the controller display.
If a bar is set to its maximum value, the corresponding note is the full length of the step.
● To make notes longer, you can tie two notes together. This is done by inserting two notes
and clicking in the Tie column for the second note.
If 2 notes are tied, the second note is not triggered – the previous note is lengthened
instead. Also, the second note gets the same pitch as the first note. You can add more notes
and tie them in the same way, creating longer notes.

Other Pattern Functions

Shift Octave up/down
Shifts the entire pattern up or down in octave steps.

Shift Steps left/right

Moves the pattern one step to the left or right.

Reverse
Reverses the pattern, so that it plays backwards.

Copy/Paste
Allow you to copy the current pattern and paste it in another pattern location (in the
same StepDesigner instance or another).

Reset
Clears the pattern, removing all notes and resetting controller values.

Randomize
Generates a completely random pattern.

Swing
Offsets every second step, creating a swing or shuffle feel. The value is a percentage –
the higher you set this, the farther to the right every even step is moved.

Presets
Allows you to load/save presets for the effect.

NOTE

A stored preset contains all 200 patterns in StepDesigner.

Automating Pattern Changes

You can create up to 200 different patterns in each StepDesigner instance.

Typically, you want the pattern selection to change during the project. You can accomplish this by
automating the pattern selector, either in realtime by activating Write automation and switching
patterns during playback or by drawing on the automation track for the MIDI track.

Note that you can also press a key on your MIDI keyboard to change patterns. For this, you have
to set up StepDesigner as an insert effect for a record enabled MIDI track. Press C1 to select
pattern 1, C#1 to select pattern 2, D1 to select pattern 3, D#1 to select pattern 4 and so on. You
can record these pattern changes as note events on a MIDI track.

PROCEDURE
1. Select a MIDI track or create a new one and activate StepDesigner as an insert effect.

181
Cubase Pro 11.0.0
MIDI Effects
Track Control

2. Set up several patterns.

3. Activate the Record button and press keys on your keyboard to select the corresponding
patterns.
The pattern changes are recorded on the MIDI track.
4. Stop recording and play back the MIDI track.

RESULT
You now hear the recorded pattern changes.

NOTE

You can only automate the first 92 patterns.

Track Control

The Track Control effect contains three control panels for adjusting parameters on a GS or XG
compatible MIDI device. The Roland GS and Yamaha XG protocols are extensions of the General
MIDI standard, allowing for more sounds and better control of various instrument settings. If
your instrument is compatible with GS or XG, Track Control allows you to adjust sounds and
effects in your instrument from within your host application.

The Available Control Panels

You select the control panel from the pop-up menu at the top of the effect panel. The following
panels are available:

GS 1
Contains effect sends and various sound control parameters for use with instruments
compatible with the Roland GS standard.

XG 1
Contains effect sends and various sound control parameters for use with instruments
compatible with the Yamaha XG standard.

XG 2
Global settings for instruments compatible with the Yamaha XG standard.

182
Cubase Pro 11.0.0
MIDI Effects
Track Control

About the Reset and Off Buttons

You find two buttons labeled Off and Reset at the top of the control panel:

● Clicking the Off button sets all controls to their lowest value, without sending out any MIDI
messages.
● Clicking the Reset button resets all parameters to their default values, and sends out the
corresponding MIDI messages.

GS 1
The following controls are available if the GS 1 Controls mode is selected:

Send 1
Send level for the reverb effect.

Send 2
Send level for the chorus effect.

Send 3
Send level for the variation effect.

Attack
Adjusts the attack time of the sound. Lowering the value shortens the attack, while
raising it makes the attack time longer.

Decay
Adjusts the decay time of the sound. Lowering the value shortens the decay, while
raising it makes the decay longer.

Release
Adjusts the release time of the sound. Lowering the value shortens the release, while
raising it makes the release time longer.

Cutoff
Adjusts the filter cutoff frequency.

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

Express
Allows you to send out expression pedal messages on the track’s MIDI channel.

Ch. Press
Allows you to send out aftertouch (channel pressure) messages on the track’s MIDI
channel. This is useful if your keyboard cannot send aftertouch, but you have sound
modules that respond to aftertouch.

Breath
Allows you to send breath control messages on the track’s MIDI channel.

Modul.
Allows you to send modulation messages on the track’s MIDI channel.

XG 1
The following controls are available if the XG 1 mode is selected.

Send 1
Send level for the reverb effect.

183
Cubase Pro 11.0.0
MIDI Effects
Track Control

Send 2
Send level for the chorus effect.

Send 3
Send level for the variation effect.

Attack
Adjusts the attack time of the sound. Lowering this value shortens the attack, while
raising it makes the attack time longer.

Release
Adjusts the release time of the sound. Lowering this value shortens the release, while
raising it makes the release time longer.

Harm.Cont
Adjusts the harmonic content of the sound.

Bright
Adjusts the brightness of the sound.

CutOff
Adjusts the filter cutoff frequency.

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

XG 2
In this mode, the parameters affect global settings in the instruments. Changing one of these
settings for a track affects all MIDI instruments connected to the same MIDI output, regardless
of the MIDI channel setting of the track. Therefore, it might be a good idea to create an empty
track and use this only for these global settings.

Eff. 1
Allows you to select which type of reverb effect should be used: No effect (reverb
deactivated), Hall 1–2, Room 1–3, Stage 1–2, or Plate.

Eff. 2
Allows you to select which type of chorus effect should be used: No effect (chorus
deactivated), Chorus 1–3, Celeste 1–3, or Flanger 1–2.

Eff. 3
Allows you to select one of a large number of variation effect types. Select No Effect to
deactivate the variation effect.

Reset
Sends an XG reset message.

MastVol
Controls the master volume of an instrument. Normally, you should leave this at its
highest position and set the volumes individually for each channel (with the volume
faders in the MixConsole or in the Inspector).

184
Cubase Pro 11.0.0
MIDI Effects
Transformer

Transformer
Transformer is a realtime version of the Logical Editor. With this you can perform very powerful
MIDI processing on the fly, without affecting the actual MIDI events on the track.

The Logical Editor is described in the Operation Manual. As the parameters and functions are
almost identical, the descriptions for the Logical Editor also apply to Transformer. Where there
are differences between the two, this is clearly stated.

185
Cubase Pro 11.0.0
Included VST Instruments

This chapter contains descriptions of the included VST instruments and their parameters.

Groove Agent SE
This VST instrument is described in detail in the separate document Groove Agent SE.

HALion Sonic SE
This VST instrument is described in detail in the separate document HALion Sonic SE.

LoopMash

LoopMash is a powerful tool for slicing and instant re-assembling of any kind of rhythmic audio
material. With LoopMash , you can preserve the rhythmic pattern of one audio loop, but you can
replace all sounds of this loop with the sounds from up to seven other loops.

LoopMash provides dozens of possibilities to influence the way the slices are re-assembled, thus
giving you full control over the results of your performance. You can choose from a variety of
effects and apply them to single slices or to your overall performance. Finally, you can store your
configuration as scenes on scene pads, and trigger these scene pads with your MIDI keyboard.

LoopMash is fully integrated into your host application, which allows you to drag and drop
audio loops from the MediaBay or Project window directly onto the LoopMash panel.
Furthermore, you can drag and drop slices from LoopMash to the sample pads of Groove Agent

186
Cubase Pro 11.0.0
Included VST Instruments
LoopMash

SE. This allows you to extract certain sounds that you like from LoopMash and use them with
Groove Agent SE.

The LoopMash window has two main areas: the track section in the upper part of the panel, and
the parameter section at the bottom.

The selected track is indicated by the background color of the track and the lit button to the left
of the waveform display.

The selected track holds the master loop. The rhythmic pattern of the LoopMash output is
governed by the master loop – that is, what you hear is the rhythmic pattern of this loop.

On the left of each track, you find the similarity gain sliders. The further to the right you move
the similarity gain slider of a track, the more slices are played back from this track.

Getting Started
To give you a first impression of what you can do with LoopMash , open the tutorial preset.

PROCEDURE
1. In your host application, create an instrument track with LoopMash as the associated VST
instrument.
2. In the Inspector for the new track, click the Edit Instrument button to open the LoopMash
panel.
3. At the top of the plug-in panel, click on the icon to the right of the preset field and select
Load Preset from the pop-up menu.
4. The presets browser opens, showing presets found in the VST 3 Presets folder for
LoopMash .
5. Select the preset called “A Good Start…(Tutorial) 88”.
The preset is loaded into LoopMash .
6. At the bottom of the panel, make sure that the sync button in the transport controls is off,
and start playback by clicking the play button.
7. Look at the 24 pads below the track section: the pad labeled Original is selected. Select the
pad named Clap.
A new loop is displayed on the second track in the track display, and you hear that the snare
drum sound of the first loop has been replaced with a handclap sound.
8. Select the pad labeled Trio, and then the pad labeled Section. Each time you click, a new
loop is added to the mash.
Note how the rhythmic pattern of the music stays the same, although an increasing number
of sounds is taken from the other loops.
9. Select other pads to find out how different parameter settings influence the LoopMash
output.
Some of the pads have the same label, for example, Original and Replaced. The scenes that
are associated with these pads form the basis for variations of that scene. The variations of a
scene are associated with the scene pads to the right of the original scene, that is, the scene
labeled SliceFX is a variation of the scene labeled Original and shows an example for the
usage of slice effects.

RELATED LINKS
LoopMash Parameters on page 189
Applying Slice Selection Modifiers and Slice Effects on page 193

187
Cubase Pro 11.0.0
Included VST Instruments
LoopMash

How Does LoopMash Work?

Whenever you import a loop into LoopMash , the plug-in analyzes the audio material. It
generates perceptual descriptors (information on tempo, rhythm, spectrum, timbre, etc.) and
then slices the loop into eighth-note segments.

This means that after you have imported several loops, LoopMash knows the rhythmic pattern
of each loop and the location of various sounds that make up this pattern within each loop.
During playback, LoopMash uses the perceptual descriptors to determine how similar each slice
is to the current slice of the master track.

NOTE

LoopMash does not categorize the sounds, but looks for overall similarity in the sound. For
example, LoopMash might replace a low snare drum sound with a kick drum sound, even
though a high snare sound is also available. LoopMash always tries to create a loop acoustically
similar to the master loop, but using other sounds.

The similarity is shown by the brightness of each slice on each track, and also by the position of
each slice on the similarity gain slider to the left of each track (if you click a slice, its position is
highlighted on the similarity gain slider). The brighter a slice, the more similar a slice is to the
current master track slice, and the further to the right it is displayed on the similarity gain slider.
Darker slices are less similar and can be found further to the left on the slider.

The similarity gain settings of the various tracks determine which slice gets playback priority. This
creates a new loop, over and over again, but with the rhythmic pattern of the original master
loop.

In the following figure, you can see four tracks. The track at the top is the master track. During
playback, LoopMash moves through the master loop step-by-step (which is indicated by a
rectangle in the track’s color around the current slice) and automatically selects four slices from
these tracks to replace the slices of the master track. The currently playing slice is indicated by a
white rectangle around the slice.

The following figure shows the result of the selection process for each playback step.

1 Master track slices for playback steps 1 to 4.

2 Slices 1 to 4 selected for playback.

188
Cubase Pro 11.0.0
Included VST Instruments
LoopMash

For best performance, use audio files that have the same sample rate as your project (to avoid
sample rate conversion when loading presets or storing scenes).

Experiment with the provided LoopMash presets, and with your own loops of different lengths
and with different rhythms, containing many different sounds – LoopMash is like an instrument,
and we very much encourage you to play it!

LoopMash Parameters
You can influence the process of constantly assembling a new loop with the various functions
and parameter controls of LoopMash .

NOTE

Many of the LoopMash parameters can be automated. The automation of VST instrument
parameters is described in the Operation Manual.

The Track Section

The track section contains the track display with the track controls for setting the track volume
and a transposition value to the right of each track. To the left of the track display you find the
similarity gain sliders. With the button between the similarity gain slider and the track, you can
define the master track that serves as the reference for rhythm and timbre. At the top of the
track display you find a ruler that shows bars and beats and the loop range selector.

1 Similarity threshold control

2 Similarity gain sliders
3 Master track on/off
4 Loop range selector
5 Ruler showing bars and beats
6 VU meter
7 Track display
8 Track transposition value
9 Track volume

189
Cubase Pro 11.0.0
Included VST Instruments
LoopMash

Importing and Removing Loops

You can import up to eight audio loops onto the eight tracks in the track display.

PROCEDURE
1. Locate the audio loop that you want to import in one of the following locations: MediaBay
and the MediaBay related browsers (for example, the Loop Browser), Project window, Pool,
Sample Editor (regions), Audio Part Editor, or the File Explorer/macOS Finder.
The quickest way to find the LoopMash content is to use the MediaBay: Navigate to the
LoopMash content via the VST Sound node.
2. Drag the loop file onto a track in LoopMash .
Dragging a loop to a track already occupied replaces the original loop.

RESULT
LoopMash separates the loop into slices, analyzes them, and displays them as a waveform on
the track. One track can hold up to 32 slices. If a long loop contains more than 32 slices,
LoopMash imports only the first 32. Ideally, you would use a loop file cut at bar boundaries. If
you import your file from the MediaBay, LoopMash uses the tempo information supplied by the
MediaBay for the slicing of the loop.

NOTE

To remove a loop from a LoopMash track, right-click the track and select Clear track.

Defining the Master Loop

One track is always selected. This is the master track: it provides the rhythmic pattern that you
hear. The sounds of this loop are replaced by slices selected from the other loops in the current
LoopMash configuration.

PROCEDURE
● To make a track the master track, activate the button to the left of it, next to the track
display.

Auditioning Slices

PROCEDURE
1. Click on the slice that you want to hear.
2. Use the Step function in the transport controls to step through the slices.

RELATED LINKS
Transport Controls on page 194

Playback and Master Slice Indicators

A rectangle in the track color around a slice indicates the current position within the master loop,
that is, the master slice. The slice selected for playback is indicated by a white rectangle.

Setting a Loop Range

At the top of the track display, a ruler showing bars and beats (using the project’s time signature)
is displayed. In the ruler, you also find the loop range selector (the bracket) that defines the play
length.

190
Cubase Pro 11.0.0
Included VST Instruments
LoopMash

PROCEDURE
1. To shorten the play length, click and drag the handles of the loop range selector (the
bracket) at the top of the track display.
This allows you to select even a very small range within your master loop for playback – the
rest of the loop is not taken into account.

NOTE

Short loop ranges (less than 1 bar) may conflict with the jump interval setting.

2. To change the playback range, click the loop range selector and drag it to a different position
as a whole.

RELATED LINKS
Storing Your Configuration as Scenes on page 195

Setting Track Transposition Value and Track Volume

The track controls to the right of each track allow you to set a track transposition value and the
track volume for each track individually.

PROCEDURE
1. To set a track transposition value, click the button to the right of the track and select a
transposition interval from the pop-up menu.
The set value is displayed on the button.

NOTE

This function is tied to the setting for the Slice Timestretch parameter. If Slice Timestretch
is deactivated, transposition is created by increasing/decreasing the playback speed of the
slices (transposing a track up by one octave corresponds to playing the slices twice as fast).
With Slice Timestretch on, you get true pitch shifting, that is, there is no change in playback
speed.

2. You can change the relative volumes of your tracks with the volume controls on the far right
of each track.
This is useful for level adjustments between tracks. A VU meter to the left of the volume
control provides visual feedback of the current volume.

RELATED LINKS
Audio Parameters on page 197

Setting the Similarity

With the similarity gain slider (to the left of each track), you determine how important a particular
track is for the mashing up of the master loop. By moving the slider, you specify that a track is
more/less similar to the master track, thus overruling the result of the LoopMash analysis. As a
result, more/less slices from this track are included in the current mash.

PROCEDURE
1. Move the slider to the right to select more slices from the corresponding track for playback,
and to the left to reduce the number of slices for playback.
The vertical lines on the similarity gain slider correspond to the slices in this loop. The
changing pattern of slices indicates similarity of each slice, on all tracks, to the current

191
Cubase Pro 11.0.0
Included VST Instruments
LoopMash

master track slice. The further to the right a line is, the greater the similarity of this slice to
the master slice.
2. Drag the similarity threshold control (the thin line with handles at the top and bottom
intersecting all similarity gain sliders) to the left or right to determine a minimum similarity
that slices must match to be considered for playback.
Slices with a similarity below this threshold are not played.

NOTE

On the Slice Selection page at the bottom of the LoopMash panel, you can make further
settings for influencing which slices are played.

RELATED LINKS
Slice Selection on page 196

Creating Composite Tracks

LoopMash allows you to build composite tracks.

PROCEDURE
1. Import the loop that you want to extract sounds from.
2. Audition the slices and drag the slices that you want to use onto an empty track.
A dialog opens asking you to confirm that you want to create a composite track, and to
determine the number of slices that the track contains. If you enter a higher number of slices
than the track actually contains, the track is filled up with empty slices.

3. Click OK.

RESULT
The destination track of the dragged slice becomes composite, indicated by a C to the left of the
track.

You can use this feature in a very versatile way:

● You can assemble a combination of sounds that you like most on one track.
● You can define a certain rhythmic pattern by combining slices from different loops on a
composite track and making this track the master loop.
● You can use a composite track as a clipboard, allowing you to include sounds from more
than eight loops into your mash.
You can use one track for importing and removing the loops that you want to search for
sounds, and use the remaining seven tracks as composite tracks. This allows for including up
to 32 sounds from up to 32 different loop files on each of the seven composite tracks.

NOTE

Composite tracks are quantized according to the set tempo.

192
Cubase Pro 11.0.0
Included VST Instruments
LoopMash

RELATED LINKS
Transport Controls on page 194

Applying Slice Selection Modifiers and Slice Effects

Right-clicking a slice opens a context menu where you can influence the selection of individual
slices and which effect is applied to them. The upper part of the context menu shows the slice
selection modifiers.

Always
Only available for master track slices. The slice is played always.

Always Solo
Only available for master track slices. The slice is played always and exclusively
(independent of the Voices parameter that you set on the Slice Selection page).

Exclude
The slice is never selected for playback.

Boost
Increases the similarity for this particular slice, so that it is played back more often.

Below the selection modifiers, the context menu shows the slice effects.

Mute
Mutes the slice.

Reverse
Plays the slice in reverse.

Staccato
Shortens the slice.

Scratch A, B
Plays the slice as if scratched.

Backspin 4
Simulates a turntable backspin lasting over 4 slices.

Slowdown
Applies a slowdown.

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

Tapestop 1, 2
Simulates a tapestop, that is, slows the slice down.

Slur 4
Stretches the slice over 4 slice lengths.

Slur 2
Stretches the slice over 2 slice lengths.

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

RELATED LINKS
Slice Selection on page 196
Performance Controls on page 197

193
Cubase Pro 11.0.0
Included VST Instruments
LoopMash

Transport Controls

The transport controls can be found at the bottom of the LoopMash panel.

Play
Click the Play button to start or stop playback.

Locate
Click the Locate button to return to the beginning of the loop (bar 1/beat 1). Playback
always starts automatically when clicking this button.

Step left/right
Clicking the Step left/right button steps backwards/forwards through the timeline,
playing one slice at a time.

Setting the LoopMash Tempo

During playback, LoopMash can be synchronized to the tempo set in your host application, or
can follow its own tempo setting.

● Activate the sync button (to the right of the Play button) to synchronize LoopMash to the
project tempo set in your host application.
If sync is activated, you can start playback using the transport controls of your host
application. With sync deactivated, LoopMash starts playing when you click the Play button
in LoopMash .
● If sync is deactivated, the current LoopMash tempo (in BPM) is displayed in the tempo field
to the left of the master button. To change the local tempo, click in the tempo field, enter a
new value, and press Enter .
● If sync is deactivated, you can click the master button (to the right of the tempo field) to copy
the tempo of the current master loop into the tempo field.
The sync on/off parameter can be automated. This is useful to control LoopMash in a
project – with sync off, the playback of LoopMash within a project is paused.

Controlling Transport Functions with Your MIDI Keyboard

You can control the start, stop, sync on, and sync off functions with your MIDI keyboard.

C2
Start

D2
Stop

E2
Sync on

F2
Sync off

NOTE

If you do not have a MIDI keyboard connected to your computer, you can use the virtual
keyboard (see the Operation Manual).

194
Cubase Pro 11.0.0
Included VST Instruments
LoopMash

Storing Your Configuration as Scenes

On the Slice Selection and the Audio Parameters pages, you find a row of 24 pads. For each of
these pads, you can save one scene, that is, a combination of up to eight tracks with all
parameter settings. By triggering the pads, you can quickly change between different scenes
during your performance.

1 Save scene
2 Remove scene
3 Jump interval
4 Selected scene
5 Pad with associated scene
6 Empty scene pad
● To save the current settings as a scene, click the round button and then a pad. This saves
your setup to that pad.
● To recall a scene, click the corresponding scene pad.
● To remove a scene from a pad, click the x button and then a pad.
● To edit a scene pad label, double-click on the scene pad and enter a name.
● To rearrange the scene pads, click on a scene pad and drag it to a new position.

IMPORTANT

Once you have set up a LoopMash configuration, save it to a scene pad. Changing scenes
without saving means discarding any unsaved changes.

Setting a Jump Interval

You can determine the point at which LoopMash changes to the next scene during playback
when you trigger a pad.

PROCEDURE
● Click the Jump interval button and select an option from the pop-up menu.

RESULT

NOTE

The option e: End means that the current loop is played to the end before switching scenes.
When you set up a short loop range, you may need to set the interval to e: End to ensure that the
jump point is reached.

Triggering Scene Pads with Your MIDI Keyboard

The scene pads are arranged according to the keys on a MIDI keyboard. You can trigger the 24
scene pads with a connected MIDI keyboard starting from C0 and ending with B1.

195
Cubase Pro 11.0.0
Included VST Instruments
LoopMash

Slice Selection
Click the Slice Selection button (above the transport controls) to open the Slice Selection page.
The options on this page allow you to further influence which slices are selected for playback.

Number of Voices
Here you can set the total number of slices from all tracks that replace the master slice
(according to the current similarity gain settings). The range is from one (left) to four
(right) voices, that is, sounds from up to four loops can play simultaneously. Increasing
the number of voices increases the CPU load.

Voices per Track

This is the maximum number of slices that can be selected from a single track. The
range is from one to four. The fewer slices can be picked from the same track, the
more variety you get in the LoopMash output.

Selection Offset
Move this slider to the right to allow slices that are less similar to be selected for
playback. This setting affects all tracks of this scene.

Random Selection
Move this slider to the right to allow more variation when selecting slices for playback,
adding a more random feel to the selection process. This setting affects all tracks of
this scene.

Selection Grid
Determines how often LoopMash looks for similar slices during playback: always (left
position), or only every 2nd, 4th, or 8th (right position) step. For example, if you set the
Selection Grid to every 8th step (right position), LoopMash replaces similar slices
every 8th step. Between two replacement steps it plays back the tracks of the slices
that have been selected in the last replacement step, resulting in longer playback
sequences on one track.

Similarity Method
Here, you can modify the criteria that LoopMash considers when comparing the slices
for similarity. There are three similarity methods:
● Standard – This is the standard method, where all slices on all tracks are
compared and various characteristics regarding rhythm, tempo, spectrum, etc. are
taken into account.
● Relative – This method does not only consider the overall similarity of all slices on
all tracks, but also takes the relation to the other slices on the same track into
account. For example, LoopMash can replace the loudest, lowest sound on one
track with the loudest, lowest sound on another track.
● Harmonic – This method only takes the analyzed tonal information into account,
so that a slice is replaced by a harmonically similar slice, rather than by a
rhythmically similar slice. With this method, also the track transposition value is
considered, that is, a master slice with a C major chord is not replaced by a slice
with a D major chord. But it is replaced if you set the transposition value of the
track of the slice with the D major chord to -2. It is advisable to keep the similarity
gain sliders in a low position when you work with this method, because otherwise
you may produce disharmonies. You can modify the transposition values to play
back more slices of a specific track.

RELATED LINKS
Storing Your Configuration as Scenes on page 195

196
Cubase Pro 11.0.0
Included VST Instruments
LoopMash

Audio Parameters
Click the Audio Parameters button (above the transport controls) to open the Audio
Parameters page. With the options on this page, you can influence the sound of the LoopMash
audio output.

Adapt Mode
With this mode, you can adapt the sound of the selected slice to the sound of the
master slice. The available options are:
● Volume – changes the overall volume of the selected slice.
● Envelope – modifies volume changes within the slice.
● Spectrum – modifies the spectrum of the slice (equalization).
● Env + Spectrum – this is a combination of the Envelope and Spectrum modes.

Adapt Amount
Move this slider to the right to increase the adaptation specified with the Adapt Mode
parameter.

Slice Quantize
Move this slider to the right to apply quantizing to the slices, that is, the slices are
aligned to an eighth-note grid. If the slider is all the way to the left, the slices follow the
rhythmic pattern defined by the original master loop.

Slice Timestretch
Allows you to apply realtime timestretching to the slices, filling gaps or avoiding
overlaps between slices that are not played back at their original tempo, or when
combining slices with different original tempos. Applying timestretch increases the
CPU load and may affect the sound quality. Reduce the need for timestretching by
using loops with similar original tempos.

Staccato Amount
If you move this slider to the right, the length of the slices is gradually reduced, giving
the output a staccato feel.

Dry/Wet Mix
Sets the balance between the volumes of the master loop and the selected slices from
the other tracks.

RELATED LINKS
Setting Track Transposition Value and Track Volume on page 191

Performance Controls

Click the Performance Controls button to open the Performance Controls page. On this page,
you find a row of buttons that are arranged according to the keys on a MIDI keyboard.

● By clicking these buttons during playback, you can apply effects to your overall performance.
An effect is applied as long as the button is activated.

Most of the available effects correspond to the effects that you can apply to single slices, with the
green buttons corresponding to the stutter and slur effects and the red buttons to the Mute,
Reverse, Staccato effects, etc.

197
Cubase Pro 11.0.0
Included VST Instruments
Mystic

NOTE

Effects triggered with the Performance Controls buttons override the slice effects.

With the blue buttons and the yellow button, you can apply additional effects that cannot be
applied to single slices:

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

Continue
Plays back the tracks of the selected slices continuously until you release the button.

NOTE

You cannot save global effects in scenes. To apply effects and save them in scenes, use slice
effects.

Triggering the Performance Controls with Your MIDI Keyboard

You can trigger the performance controls with your MIDI keyboard starting from C3 upwards.

RELATED LINKS
Applying Slice Selection Modifiers and Slice Effects on page 193

Mystic

198
Cubase Pro 11.0.0
Included VST Instruments
Mystic

The synthesis method used by Mystic is based on three parallel comb filters with feedback. A
comb filter is a filter with a number of notches in its frequency response, with the notch
frequencies harmonically related to the frequency of the fundamental (lowest) notch.

A typical example of comb filtering occurs if you are using a flanger effect or a delay effect with
very short delay time. Raising the feedback (the amount of signal sent back into the delay or
flanger) causes a resonating tone – this tone is basically what the Mystic produces. This
synthesis method is capable of generating a wide range of sounds, from gentle plucked-string
tones to weird, non-harmonic timbres.

The basic principle is the following:

● You start with an impulse sound, typically with a very short decay.
The spectrum of the impulse sound largely affects the tonal quality of the final sound.
● The impulse sound is fed into the three comb filters, in parallel. Each of these has a feedback
loop.
This means the output of each comb filter is fed back into the filter. This results in a
resonating feedback tone.
● When the signal is fed back into the comb filter, it goes via a separate, variable low-pass
filter.
This filter corresponds to the damping of high frequencies in a physical instrument – if this is
set to a low cutoff frequency it causes high harmonics to decay faster than the lower
harmonics (as when plucking a string on a guitar, for example).
● The level of the feedback signal is governed by a feedback control.
This determines the decay of the feedback tone. Setting this to a negative value simulates
the traveling wave in a tube with one open end and one closed end. The result is a more
hollow, square wave-like sound, pitched one octave lower.
● A detune control offsets the fundamental frequencies of the three comb filters, for chorus-
like sounds or drastic special effects.

Finally you have access to the common synth parameters – two LFOs, four envelopes and an
effect section.

● By default, envelope 2 controls the level of the impulse sound – this is where you set up the
short impulse decay when emulating string sounds, etc.

Functional Diagram

199
Cubase Pro 11.0.0
Included VST Instruments
Mystic

Sound Parameters

The Impulse Control Section

This is where you set up the impulse sound – the sound fed into the comb filters, serving as a
starting point for the sound. The Impulse Control has two basic waveforms that are filtered
through separate spectrum filters with adjustable base frequency. The output is an adjustable
mix between the two waveform/spectrum filter signals.

Spectrum Displays

The displays allow you to draw a filter contour with your mouse for spectrum filters A and B.

● To set up the contour, click in one of the displays and drag the mouse to draw a curve. This
produces the inverse contour in the other display, for maximum sonic versatility.
To set up the contour independently for the two filters, hold down Shift and click and drag
the mouse in either display.
● Use the Preset pop-up menu to select a preset contour.
● If you want to calculate a random spectrum filter curve, you can choose the Randomize
function from the Preset pop-up menu.
Each time you choose this function, a new randomized spectrum appears.

Waveform Pop-up Menu

The pop-up menu at the bottom of the waveform section (the central box at the top of the panel)
allows you to select a basic waveform to be sent through filter contour A. The options are
especially suited for use with the spectrum filter.

200
Cubase Pro 11.0.0
Included VST Instruments
Mystic

Cut
Offsets the frequency of the filter contour, working somewhat like a cutoff control on a
standard synth filter. To use the filter contour in its full frequency range, set Cut to its
maximum value.

Morph
Adjusts the mix between the two signal paths: waveform A spectrum contour A and
waveform B spectrum contour B.

Coarse
Offsets the pitch for the impulse sound. In a typical string setup, when the impulse
sound is very short, this does not change the pitch of the final sound, but the tonal
color.

Raster
This removes harmonics from the impulse sound. As the harmonic content of the
impulse sound is reflected in the comb filter sound, this changes the final timbre.

Comb Filter Sound Parameters

Damping
This is a 6 dB/oct low-pass filter that affects the sound being fed back into the comb
filters. This means the sound becomes gradually softer when decaying, that is, high
harmonics decay faster than the lower harmonics (as when plucking a string on a
guitar, for example).
● The lower the Damping, the more pronounced this effect.
If you open the filter completely (turn Damping up to max) the harmonic content
is static – the sound does not get softer when decaying.

Level
Determines the level of the impulse sound being fed into the comb filters. By default,
this parameter is modulated by envelope 2. That is, you use envelope 2 as a level
envelope for the impulse sound.
● For a string-type sound, you want an envelope with a quick attack, a very short
decay and no sustain (an impulse in other words), but you can also use other
envelopes for other types of sounds.
Try raising the attack for example, or raising the sustain to allow the impulse
sound to be heard together with the comb filter sound.

Crackle
Allows you to send noise directly into the comb filters. Small amounts of noise produce
a crackling, erratic effect, higher amounts give a more pronounced noise sound.

Feedback
Determines the amount of signal sent back into the comb filters (the feedback level).
● Setting Feedback to zero (twelve o’clock) effectively turns off the comb filter
sound, as no feedback tone is produced.

201
Cubase Pro 11.0.0
Included VST Instruments
Mystic

● Setting Feedback to a positive value creates a feedback tone, with higher settings
generating longer decays.
● Setting Feedback to a negative value creates a feedback tone with a more hollow
sound, pitched one octave lower. Lower settings generate longer decays.

Detune
Offsets the notch frequencies of the three parallel comb filters, effectively changing the
pitches of their feedback tones. At low settings, this creates a chorus-like detune effect.
Higher settings detunes the three tones in wider intervals.

Pitch and Fine

Overall pitch adjustment of the final sound. This changes the pitch of both the impulse
sound and the final comb filter sound.

Key Tracking
Determines whether the impulse sound should track the keyboard. This affects the
sound of the comb filters in a way similar to a key track switch on a regular subtractive
synth filter.

Portamento
Makes the pitch glide between the notes you play. The parameter setting determines
the time it takes for the pitch to glide from one note to the next. Turn the knob
clockwise for longer glide time.
The Mode switch allows you to apply glide only when you play a legato note (switch is
set to Legato). Legato is when you play a note without releasing the previously played
note. Note that Legato mode only works with monophonic parts.

Master Volume and Pan

The master Volume knob controls the master volume (amplitude) of the instrument. By default,
this parameter is controlled by Envelope 1, to generate an amplitude envelope for the oscillators.

The Pan knob controls the position of the instrument in the stereo spectrum. You can use Pan as
a modulation destination.

Modulation and Controllers

The lower half of the control panel displays the various modulation and controller assignment
pages available, as well as the EFX page. You switch between these pages using the buttons
above this section.

The following pages are available:

● The LFO page has two low frequency oscillators (LFOs) for modulating parameters.
● The ENV page contains the four envelope generators that can be assigned to control
parameters.
● The Event page contains the common MIDI controllers (Mod wheel, Aftertouch, etc.) and
their assignments.
● The EFX page offers three separate effect types: Distortion, Delay, and Modulation.

Envelope Page on page 205

Event Page on page 207
Effects (EFX) Page on page 208

LFO Page
The LFO page is opened by clicking the LFO button at the top of the lower half of the control
panel. The page contains all parameters and the modulation and velocity destinations for two
independent LFOs.

Depending on the selected preset, there may already be modulation destinations assigned, in
which case these are listed in the Mod Dest box for each LFO.

A low frequency oscillator (LFO) is used for modulating parameters, for example the pitch of an
oscillator (to produce vibrato), or for any parameter where cyclic modulation is required.

The two LFOs have identical parameters.

Speed
Governs the rate of the LFO. If the sync mode is set to MIDI, the available rate values
are selectable as note values, so the rate is synchronized to the sequencer tempo.

Depth
Controls the amount of modulation applied by the LFO. If this is set to zero, no
modulation is applied.

Waveform
Sets the LFO waveform.

Sync mode (Part/MIDI/Voice/Key)

Sets the sync mode for the LFO.

RELATED LINKS
Assigning LFO Modulation Destinations on page 204

About the Sync Modes

The sync modes determine how the LFO cycle affects the notes you play.

Part
In this mode, the LFO cycle is free running and affects all the voices in sync. Free
running means that the LFO cycles continuously, and does not reset when a note is
played.

MIDI
In this mode, the LFO rate is synced in various beat increments to MIDI clock.

Voice
In this mode, each voice in the Part has its own independent LFO cycle (the LFO is
polyphonic). These cycles are also free running – each key down starts anywhere in the
LFO cycle phase.

203
Cubase Pro 11.0.0
Included VST Instruments
Mystic

Key
Same as Voice except that it is not free running – for each key down the LFO cycle
starts over.

About the Waveforms

Most standard LFO waveforms are available for LFO modulation. You use sine and triangle
waveforms for smooth modulation cycles, square and ramp up/down for different types of
stepped modulation cycles and random or sample for random modulation. The sample
waveform is different:

● In this mode, the LFO makes use of the other LFO as well.
For example, if LFO 2 is set to use Sample, the resulting effect also depends on the speed
and waveform of LFO 1.

Assigning LFO Modulation Destinations

You can assign a modulation destination for an LFO.

PROCEDURE
1. Click in the Mod Dest box for one of the LFOs.
A pop-up menu appears in which all possible modulation destinations are shown. All Sound
parameters as well as most LFO and Envelope parameters are available as destinations.

2. Select a destination, for example, Cut.

The selected modulation destination is now shown in the list. Beside the destination, a
default value (50) has been set. The value represents the modulation amount.
● You can set positive and negative modulation values by clicking on the value in the list,
typing in a new value, and pressing Enter .
To enter negative values, type a minus sign followed by the value.
3. Select a suitable LFO Waveform, Speed, Depth, and sync mode.
You should now hear the Cut parameter being modulated by the LFO.
4. Using the same basic method, you can add any number of modulation destinations for the
LFO.
They are all listed in the Mod Dest box.
● To remove a modulation destination, click on its name in the list and select Off from the
pop-up menu.

Assigning LFO Velocity Destinations

You can also assign velocity-controlled LFO modulation.

PROCEDURE
1. Click in the Vel Dest box for one of the LFOs.

204
Cubase Pro 11.0.0
Included VST Instruments
Mystic

A pop-up menu appears in which all possible velocity destinations are shown.
2. Select a destination.
The selected velocity destination is now shown in the list. Beside the destination, a default
value (50) has been set. The value represents the modulation amount.
● You can set positive and negative values by clicking on the value in the list, typing in a
new value, and pressing Enter .
To enter negative values, type a minus sign followed by the value.
3. Using the same basic method, you can add any number of velocity destinations for the LFO.
They are all listed in the Vel Dest box.
● To remove a velocity destination, click on its name in the list and select Off from the pop-
up menu.

LFO modulation velocity control

If you follow the steps above and select the Cut parameter as a Velocity destination, the
following happens:

● The harder you strike the key, the more the Cut parameter is modulated by the LFO.
● If you enter a negative value for the velocity modulation amount, the opposite happens: the
harder you play, the less the Cut parameter is modulated by the LFO.

Envelope Page
The Envelope page is opened by clicking the ENV button at the top of the lower half of the
control panel. The page contains all parameters and the modulation and velocity destinations for
the four independent envelope generators.

Envelope generators govern how a parameter value changes when a key is pressed, when a key
is held and finally when a key is released.

On the Envelope page, the parameters for one of the four envelope generators is shown at a
time.

● You switch between the four envelopes in the section to the left.
Clicking on either of the four mini curve displays selects it and displays the corresponding
envelope parameters to the right.
● Envelope generators have four parameters: Attack, Decay, Sustain, and Release (ADSR).
● You can set envelope parameters in 2 ways: by using the sliders or by clicking and dragging
the curve in the Envelope curve display.
You can also do this in the mini curve displays.
● By default, Envelope 1 is assigned to the master volume, and therefore acts as an amplitude
envelope. The amplitude envelope adjusts how the volume of the sound changes from the
time you press a key until the key is released.
If no amplitude envelope is assigned, there is no output.
● Envelope 2 is by default assigned to the Level parameter.

205
Cubase Pro 11.0.0
Included VST Instruments
Mystic

The Envelope parameters are as follows:

Attack
The attack phase is the time it takes from zero to the maximum value. How long this
takes is governed by the Attack setting. If the Attack is set to 0, the maximum value is
reached instantly. If this value is raised, it takes time before the maximum value is
reached. Range is from 0.0 milliseconds to 91.1 seconds.

Decay
After the maximum value has been reached, the value starts to drop. How long this
takes is governed by the Decay parameter. The Decay has no effect if the Sustain
parameter is set to maximum.

Sustain
Determines the level for the envelope after the Decay phase. Note that Sustain
represents a level, whereas the other envelope parameters represent times.

Release
Determines the time it takes for the value to fall back to zero after releasing the key.
Range is from 0.0 milliseconds to 91.1 seconds.

Punch
If Punch is activated, the start of the decay phase is delayed a few milliseconds, that is,
the envelope stays at top level for a moment before moving on to the decay phase. The
result is a punchier attack similar to a compressor effect. This effect is more
pronounced with short attack and decay times.

Retrigger
If Retrigger is activated, the envelope retriggers each time you play a new note.
However, with certain textures/pad sounds and a limited number of voices, it is
recommended to leave the button deactivated, due to click noises that might occur.

Assigning Envelope Modulation Destinations

You can assign a modulation destination for an envelope.

PROCEDURE
1. Click in the Mod Dest box for one of the envelopes.
A pop-up menu appears in which all possible modulation destinations are shown. All Sound
parameters as well as most LFO and Envelope parameters are available as destinations.
2. Select a destination, for example, Cut.
The selected modulation destination is now shown in the list. Beside the destination, a
default value (50) has been set. The value represents the modulation amount.
● You can set positive and negative modulation values by clicking on the value in the list,
typing in a new value, and pressing Enter .
To enter negative values, type a minus sign followed by the value.
3. Select a suitable envelope curve for the modulation.
You should now hear the Cut parameter being modulated by the envelope as you play.
4. Using the same basic method, you can add any number of modulation destinations for the
envelope.
They are all listed in the Mod Dest box.
● To remove a modulation destination, click on its name in the list and select Off from the
pop-up menu.

206
Cubase Pro 11.0.0
Included VST Instruments
Mystic

Assigning Envelope Velocity Destinations

You can also assign velocity-controlled envelope modulation, that is, the modulation is governed
by how hard or soft you strike a key.

PROCEDURE
1. Click in the Vel Dest box for one of the envelopes.
A pop-up menu appears in which all possible velocity destinations are shown.
2. Select a destination.
The selected velocity destination is now shown in the list. Beside the destination, a default
value (50) has been set. The value represents the modulation amount. See below for an
example of how velocity modulation works.
● You can set positive and negative values by clicking on the value in the list, typing in a
new value, and pressing Enter .
To enter negative values, type a minus sign followed by the value.
3. Using the same basic method, you can add any number of velocity destinations for the
Envelope.
They are all listed in the Vel Dest box.
● To remove a velocity destination, click on its name in the list and select Off from the pop-
up menu.

Envelope modulation velocity control

If you follow the steps above and select the Cut parameter as a Velocity destination, the
following happens:

● The harder you strike the key, the more the parameter is modulated by the envelope.
● If you enter a negative value for the velocity modulation amount, the opposite happens; the
harder you play the less the Cut parameter is modulated by the Envelope.

Event Page
The Event page is opened by clicking the EVENT button at the top of the lower half of the control
panel. This page contains the most common MIDI controllers and their assignments.

Modulation Wheel
The modulation wheel on your keyboard can be used to modulate parameters.

Velocity
Controls parameters according to how hard or soft you play notes on your keyboard. A
common application of velocity is to make sounds brighter and louder if you strike the
key harder.

Aftertouch
Aftertouch, or channel pressure, is MIDI data sent when pressure is applied to a
keyboard after the key has been struck, and while it is being held down or sustained.

207
Cubase Pro 11.0.0
Included VST Instruments
Mystic

Aftertouch is often routed to control filter cutoff, volume, and other parameters to add
expression.

Key Pitch Tracking

This can change parameter values linearly according to where on the keyboard you
play.

Assigning a Controller to a Parameter

PROCEDURE
1. Click in the Mod Dest box for one of the controllers.
A pop-up menu appears in which all possible modulation destinations are shown. All Sound
parameters as well as most LFO and Envelope parameters are available as destinations.
2. Select a destination.
The selected modulation destination is now shown in the list. Beside the destination, a
default value (50) has been set. The value represents the modulation amount when the
controller is at its full range.
● You can set positive and negative modulation values by clicking on the value in the list,
typing in a new value, and pressing Enter .
To enter negative values, type a minus sign followed by the value.
3. Using the same basic method, you can add any number of modulation destinations for the
controllers.
They are all listed in the Mod Dest box for each controller.
● To remove a modulation destination, click on its name in the list and select Off from the
pop-up menu.

Effects (EFX) Page

This page features three separate effect units: Distortion, Delay, and Modulation (Phaser/
Flanger/Chorus). The Effect page is opened by clicking the EFX button at the top of the lower half
of the control panel.

● Each separate effect section is laid out with a row of buttons that determine the effect type
or characteristic and a row of sliders for making parameter settings.
● To activate an effect, click the Active button so that a dot appears.
Clicking again deactivates the effect.

Distortion
You can choose between 4 basic distortion characteristics:

● Distortion provides hard clipping distortion.

● Soft Distortion provides soft clipping distortion.
● Tape Emulation produces distortion similar to magnetic tape saturation.
● Tube Emulation produces distortion similar to valve amplifiers.

208
Cubase Pro 11.0.0
Included VST Instruments
Mystic

Drive
Sets the amount of distortion by amplifying the input signal.

Filter
Sets the crossover frequency of the distortion filter. The distortion filter consists of a
low-pass filter and a high-pass filter with a cutoff frequency equal to the crossover
frequency.

Tone
Controls the relative amount of low-pass and high-pass filtered signal.

Level
Controls the output level of the effect.

Delay
You can choose between 3 basic delay characteristics:

● Stereo Delay has two separate delay lines panned left and right.
● In Mono Delay, the two delay lines are connected in series for monophonic dual tap delay
effects.
● In Cross Delay, the delayed sound bounces between the stereo channels.

Song Sync
Activates/Deactivates tempo sync of the delay times.

Delay 1
Sets the delay time ranging from 0 ms to 728 ms. If MIDI sync is activated, the range is
from 1/32 to 1/1; straight, triplet or dotted.

Delay 2
Same as Delay 1.

Feedback
Controls the decay of the delays. With higher settings, the echoes repeat longer.

Filter
A low-pass filter is built into the feedback loop of the delay. This parameter controls the
cutoff frequency of this feedback filter. Low settings result in successive echoes
sounding darker.

Level
Controls the output level of the effect.

Modulation
You can choose between 3 basic modulation characteristics:

● Phaser uses an 8-pole all-pass filter to produce the classic phasing effect.
● Flanger is composed of two independent delay lines with feedback for the left and the right
channel. The delay time of both delays is modulated by one LFO with adjustable frequency.
● Chorus produces a rich chorus effect with 4 delays modulated by four independent LFOs.

Song Sync
Activates/Deactivates tempo sync of the Rate parameter.

Rate
Sets the rate of the LFOs modulating the delay time. If Song Sync is activated, the rate
is synchronized to various beat increments.

209
Cubase Pro 11.0.0
Included VST Instruments
Padshop

Depth
Controls the depth of the delay time modulation.

Delay
Sets the delay time of the four delay lines.

Feedback
Controls the amount of positive or negative feedback for all four delay lines.

Level
Controls the output level of the effect.

SR Parameters
With these buttons, you can change the sample rate. Lower sample rates basically reduce the
high frequency content and sound quality, but the pitch is not altered. This is useful to emulate
the lo-fi sounds of older digital synths.

● If the F button is active, the program of the selected part plays back with the sample rate set
in the host application.
● If the 1/2 button is active, the program of the selected part plays back with half the original
sample rate.
● If the 1/4 button is active, the program of the selected part plays back with a quarter of the
original sample rate.

A bonus effect of using lower sample rates is that it reduces the load on the computer CPU,
allowing for more simultaneous voices to be played, etc.

Padshop
This VST instrument is described in detail in the separate document Padshop.

210
Cubase Pro 11.0.0
Included VST Instruments
Prologue

Prologue

Prologue is modelled on subtractive synthesis, the method used in classic analog synthesizers.
It has the following basic features:

● Multimode filter
Variable slope low-pass and high-pass, plus band-pass and notch filter modes.
● Three oscillators, each with 4 standard waveforms plus an assortment of specialized
waveforms.
● Frequency modulation.
● Ring Modulation.
● Built-in effects.
● Prologue receives MIDI on all MIDI channels.
You do not have to select a MIDI channel to direct MIDI to Prologue .

211
Cubase Pro 11.0.0
Included VST Instruments
Prologue

Functional Diagram

Sound Parameters

Oscillator Section

This section contains parameters affecting the 3 oscillators. These are located in the upper half of
the instrument panel.

Selecting Waveforms
Each oscillator has a number of waveforms that can be selected by clicking on the waveform
name in the box located in each oscillator section.

212
Cubase Pro 11.0.0
Included VST Instruments
Prologue

Sawtooth
This waveform contains all harmonics and produces a bright and rich sound.

Parabolic
This can be described as a rounded sawtooth waveform, producing a softer timbre.

Square
Square waveforms only contain odd number harmonics, which produces a distinct,
hollow sound.

Triangle
The triangle waveform generates only a few harmonics, spaced at odd harmonic
numbers, which produces a slightly hollow sound.

Sine
The sine wave is the simplest possible waveform, with no harmonics (overtones). The
sine wave produces a neutral, soft timbre.

Formant 1–12
Formant waveforms emphasizes certain frequency bands. Like the human voice,
musical instruments have a fixed set of formants, which give it a unique, recognizable
tonal color or timbre, regardless of pitch.

Vocal 1–7
These are also formant waveforms, but specifically vocal-oriented. Vowel sounds
(A/E/I/O/U) are among the waveforms found in this category.

Partial 1–7
Partials, also called harmonics or overtones, are a series of tones which accompany the
prime tone (fundamental). These waveforms produce intervals with two or more
frequencies heard simultaneously with equal strength.

Reso Pulse 1–12

This waveform category begins with a complex waveform (Reso Pulse 1) that
emphasizes the fundamental frequency (prime). For each consecutive waveform in this
category, the next harmonic in the harmonic series is emphasized.

Slope 1–12
This waveform category begins with a complex waveform (Slope 1), with gradually
decreasing harmonic complexity the higher the number selected. Slope 12 produces a
sine wave (no harmonics).

Neg Slope 1–9

This category also begins with a complex waveform (NegSlope 1), but with gradually
decreasing low frequency content the higher the number selected.
● To hear the signal generated by the oscillators, the corresponding Osc controls in the
oscillator sections must be set to a suitable value.

213
Cubase Pro 11.0.0
Included VST Instruments
Prologue

OSC 1 Parameters
Oscillator 1 acts as a master oscillator. It determines the base pitch for all three oscillators.

Osc 1 (0–100)
This controls the output level of the oscillator.

Coarse (±48 semitones)

This determines the base pitch used by all oscillators.

Fine (±50 cent)

Fine-tunes the oscillator pitch in cent increments (100th of a semitone). This also
affects all oscillators.

Wave Mod (±50)

This parameter is only active if the Wave Mod button is activated beside the waveform
selection box. Wave modulation works by adding a phase-shifted copy of the oscillator
output to itself, which produces waveform variations. For example if a sawtooth
waveform is used, activating WM produces a pulse waveform. By modulating the WM
parameter with for example an LFO, classic PWM (pulse width modulation) is produced.
However, wave modulation can be applied to any waveform.

Phase button (On/Off)

If phase synchronization is activated, all oscillators restart their waveform cycles with
every note that is played. With Phase deactivated, the oscillators generate a waveform
cycle continuously, which produces slight variations when playing as each note starts
from a random phase in the cycle, adding warmth to the sound. For bass sounds or
drum sounds, it is often required that the attack of every note sounds the same,
therefore, for these purposes activate phase sync. Phase sync also affects the noise
generator.

Tracking button (On/Off)

If Tracking is activated, the oscillator pitch tracks the notes played on the keyboard. If
Tracking is deactivated, the oscillator pitch remains constant, regardless of the note
that is played.

Wave Mod button (On/Off)

Activates/Deactivates wave modulation.

Waveform pop-up menu

Sets the basic waveform for the oscillator.

OSC 2 Parameters
Osc 2 (0–100)
Controls the output level of the oscillator.

Coarse (±48semitones)
Determines the coarse pitch for Osc 2. If FM is enabled, this determines frequency
ratio of the oscillator regarding Osc 1.

Fine (±50 cent)

Fine-tunes the oscillator pitch in cent increments (100th of a semitone). If FM is
activated, this determines the frequency ratio of the oscillator regarding Osc 1.

Wave Mod (±50)

This parameter is only active if the Wave Mod button next to the waveform selector is
activated. Wave modulation works by adding a phase-shifted copy of the oscillator
output to itself, which produces waveform variations. For example, if a sawtooth
waveform is used, activating WM produces a pulse waveform. By modulating the WM

214
Cubase Pro 11.0.0
Included VST Instruments
Prologue

parameter with an LFO, classic PWM (pulse width modulation) is produced. Wave
modulation can be applied to any waveform.

Ratio (1–16)
This parameter is only active if Freq Mod is activate. It adjusts the amount of frequency
modulation applied to oscillator 2. It is normally referred to as “FM index”.

Sync button (On/Off)

If Sync is activated, Osc 2 is slaved to Osc 1. This means that every time Osc 1
completes its cycle, Osc 2 is forced to start its cycle from the beginning. This produces a
characteristic sound, suitable for lead playing. Osc 1 determines the pitch, and varying
the pitch of Osc 2 produces changes in timbre. For classic sync sounds, try modulating
the pitch of Osc 2 with an envelope or an LFO. The Osc 2 pitch should also be set higher
than the pitch of Osc 1.

Tracking button (On/Off)

If Tracking is activated, the oscillator pitch tracks the notes played on the keyboard. If
Tracking is deactivated, the oscillator pitch remains constant, regardless of the note
that is played.

Freq Mod button (On/Off)

Activates/Deactivates frequency modulation.

Wave Mod button (On/Off)

Activates/Deactivates wave modulation.

Waveform pop-up menu

Sets the basic waveform for the oscillator.

OSC 3 Parameters
Osc 3 (0–100)
Controls the output level of the oscillator.

Coarse (±48semitones)
Determines the coarse pitch for Osc 3. If FM is activated, this determines the frequency
ratio of the oscillator regarding Osc 1/2.

Fine (±50 cent)

Fine-tunes the oscillator pitch in cent increments. If FM is activated, this determines the
frequency ratio of the oscillator regarding Osc 1/2.

Ratio (1–16)
This parameter is only active if the Freq Mod button is activated. It adjusts the amount
of frequency modulation applied to oscillator 3. It is normally referred to “FM index”.

Sync button (On/Off)

If Sync is activated, Osc 3 is slaved to Osc 1. This means that every time Osc 1
completes its cycle, Osc 3 is forced to start its cycle from the beginning. This produces a
characteristic sound, suitable for lead playing. Osc 1 determines the pitch, and varying
the pitch of Osc 3 produces changes in timbre. For classic sync sounds, try modulating
the pitch of Osc 3 with an envelope or an LFO. The Osc 3 pitch should also be set higher
than the pitch of Osc 1.

Tracking button (On/Off)

If Tracking is activated, the oscillator pitch tracks the notes played on the keyboard. If
Tracking is deactivated, the oscillator pitch remains constant, regardless of the note
that is played.

Freq Mod button (On/Off)

Activates/Deactivates frequency modulation.

215
Cubase Pro 11.0.0
Included VST Instruments
Prologue

Wave Mod button (On/Off)

Activates/Deactivates wave modulation.

Waveform pop-up menu

Sets the basic waveform for the oscillator.

Frequency Modulation
Frequency modulation or FM means that the frequency of one oscillator, called the carrier, is
modulated by the frequency of another oscillator, called the modulator.

● In Prologue, Osc 1 is the modulator, and Osc 2 and 3 are carriers.

However, Osc 2 can be both carrier and modulator as if frequency modulation is applied to
Osc 2 it is modulated by Osc 3. If Osc 2 also uses frequency modulation, Osc 3 is modulated
by both Osc 1 and Osc 2.
● The pure sound of frequency modulation is output through the modulator oscillators.
This means that you should turn off the Osc 1 output when using frequency modulation.
● The Freq Mod button activates/deactivates frequency modulation.
● The Ratio parameter determines the amount of frequency modulation.

Portamento
This parameter makes the pitch glide between the notes you play. The parameter setting
determines the time it takes for the pitch to glide from one note to the next. Turn the knob
clockwise for longer glide time.

The Mode switch allows you to apply glide only if you play a legato note. Legato mode only works
with monophonic parts.

Ring Modulation
Ring modulators multiply two audio signals. The ring-modulated output contains added
frequencies generated by the sum of, and the difference between, the frequencies of the two
signals. In Prologue, Osc 1 is multiplied with Osc 2 to produce sum and difference frequencies.
Ring modulation is often used to create bell-like sounds.

● To hear the ring modulation, turn down the output level for Osc 1 and 2, and turn up the
R.Mod level all the way.
● If Osc 1 and 2 are tuned to the same frequency and no modulation is applied to the Osc 2
pitch, nothing happens.
However, if you change the pitch of Osc 2, drastic changes in timbre can be heard. If the
oscillators are tuned to a harmonic interval, such as fifth or octave, the ring modulated
output sounds harmonic, other intervals produce inharmonious, complex timbres.
● Deactivate oscillator sync when using ring modulation.

Noise Generator
A noise generator can be used for simulating drum sounds and breath sounds for wind
instruments, for example.

● To hear only the sound of the noise generator, turn down the output level for the oscillators,
and turn up the Noise parameter.
● The noise generator level is routed to Envelope 1 by default.

About the Filter Types

You select the filter type using the buttons around the filter cutoff knob. The following filter types
are available (listed clockwise starting from the 9 o’clock position):

12 dB LP
Low-pass filters let low frequencies pass and cut out the high frequencies. This low-
pass filter has a gentler slope (12 dB/octave above the cutoff frequency), leaving more
of the harmonics in the filtered sound.

18 dB LP
This low-pass filter also has a cascade design, attenuating frequencies above the cutoff
frequency with a 18 dB/octave slope, as used in the classic TB 303 synth.

217
Cubase Pro 11.0.0
Included VST Instruments
Prologue

24 dB LP
This filter type attenuates frequencies above the cutoff frequency with a 24 dB/octave
slope that produces a warm and fat sound.

24 dB LP II
This low-pass filter has a cascade design that attenuates frequencies above the cutoff
frequency with a 24 dB/octave slope, which produces a warm and dark sound.

12 dB Band
This band-pass filter cuts both high and low frequencies above and below the cutoff
frequency with a 12 dB/octave slope, producing a nasal and thin sound.

12 dB Notch
This notch filter cuts off frequencies near the cutoff frequency by 12 dB/octave, letting
the frequencies below and above through. This produces a phaser-like sound.

12 dB HP
A high-pass filter cuts out the lower frequencies and lets the high frequencies pass.
This high-pass filter has a 12 dB/octave slope, producing a bright and thin sound.

24 dB HP
This filter has a 24 dB/octave slope, producing a bright and sharp sound.

Master Volume and Pan

The master Volume knob controls the master volume (amplitude) of the instrument. By default,
this parameter is controlled by Envelope 1, to generate an amplitude envelope for the oscillators.

The Pan knob controls the position of the instrument in the stereo spectrum. You can use Pan as
a modulation destination.

Modulation and Controllers

The following pages are available:

RELATED LINKS
LFO Page on page 203
Envelope Page on page 205
Event Page on page 207
Effects (EFX) Page on page 208

218
Cubase Pro 11.0.0
Included VST Instruments
Prologue

Depending on the selected preset, there may already be modulation destinations assigned, in
which case these are listed in the Mod Dest box for each LFO.

A low frequency oscillator (LFO) is used for modulating parameters, for example the pitch of an
oscillator (to produce vibrato), or for any parameter where cyclic modulation is required.

The two LFOs have identical parameters.

Speed
Governs the rate of the LFO. If the sync mode is set to MIDI, the available rate values
are selectable as note values, so the rate is synchronized to the sequencer tempo.

Depth
Controls the amount of modulation applied by the LFO. If this is set to zero, no
modulation is applied.

Waveform
Sets the LFO waveform.

Sync mode (Part/MIDI/Voice/Key)

Sets the sync mode for the LFO.

RELATED LINKS
Assigning LFO Modulation Destinations on page 204

About the Sync Modes

The sync modes determine how the LFO cycle affects the notes you play.

Part
In this mode, the LFO cycle is free running and affects all the voices in sync. Free
running means that the LFO cycles continuously, and does not reset when a note is
played.

MIDI
In this mode, the LFO rate is synced in various beat increments to MIDI clock.

Voice
In this mode, each voice in the Part has its own independent LFO cycle (the LFO is
polyphonic). These cycles are also free running – each key down starts anywhere in the
LFO cycle phase.

Key
Same as Voice except that it is not free running – for each key down the LFO cycle
starts over.

219
Cubase Pro 11.0.0
Included VST Instruments
Prologue

About the Waveforms

● In this mode, the LFO makes use of the other LFO as well.
For example, if LFO 2 is set to use Sample, the resulting effect also depends on the speed
and waveform of LFO 1.

Assigning LFO Modulation Destinations

You can assign a modulation destination for an LFO.

2. Select a destination, for example, Cut.

Assigning LFO Velocity Destinations

You can also assign velocity-controlled LFO modulation.

220
Cubase Pro 11.0.0
Included VST Instruments
Prologue

● You can set positive and negative values by clicking on the value in the list, typing in a
new value, and pressing Enter .
To enter negative values, type a minus sign followed by the value.
3. Using the same basic method, you can add any number of velocity destinations for the LFO.
They are all listed in the Vel Dest box.
● To remove a velocity destination, click on its name in the list and select Off from the pop-
up menu.

LFO modulation velocity control

If you follow the steps above and select the Cut parameter as a Velocity destination, the
following happens:

Envelope generators govern how a parameter value changes when a key is pressed, when a key
is held and finally when a key is released.

On the Envelope page, the parameters for one of the four envelope generators is shown at a
time.

The Envelope parameters are as follows:

Attack
The attack phase is the time it takes from zero to the maximum value. How long this
takes is governed by the Attack setting. If the Attack is set to 0, the maximum value is

221
Cubase Pro 11.0.0
Included VST Instruments
Prologue

reached instantly. If this value is raised, it takes time before the maximum value is
reached. Range is from 0.0 milliseconds to 91.1 seconds.

Decay
After the maximum value has been reached, the value starts to drop. How long this
takes is governed by the Decay parameter. The Decay has no effect if the Sustain
parameter is set to maximum.

Sustain
Determines the level for the envelope after the Decay phase. Note that Sustain
represents a level, whereas the other envelope parameters represent times.

Release
Determines the time it takes for the value to fall back to zero after releasing the key.
Range is from 0.0 milliseconds to 91.1 seconds.

Assigning Envelope Modulation Destinations

You can assign a modulation destination for an envelope.

222
Cubase Pro 11.0.0
Included VST Instruments
Prologue

Assigning Envelope Velocity Destinations

You can also assign velocity-controlled envelope modulation, that is, the modulation is governed
by how hard or soft you strike a key.

Envelope modulation velocity control

If you follow the steps above and select the Cut parameter as a Velocity destination, the
following happens:

Event Page
The Event page is opened by clicking the EVENT button at the top of the lower half of the control
panel. This page contains the most common MIDI controllers and their assignments.

Modulation Wheel
The modulation wheel on your keyboard can be used to modulate parameters.

Velocity
Controls parameters according to how hard or soft you play notes on your keyboard. A
common application of velocity is to make sounds brighter and louder if you strike the
key harder.

Aftertouch
Aftertouch, or channel pressure, is MIDI data sent when pressure is applied to a
keyboard after the key has been struck, and while it is being held down or sustained.

223
Cubase Pro 11.0.0
Included VST Instruments
Prologue

Aftertouch is often routed to control filter cutoff, volume, and other parameters to add
expression.

Key Pitch Tracking

This can change parameter values linearly according to where on the keyboard you
play.

Assigning a Controller to a Parameter

Effects (EFX) Page

Distortion
You can choose between 4 basic distortion characteristics:

● Distortion provides hard clipping distortion.

● Soft Distortion provides soft clipping distortion.
● Tape Emulation produces distortion similar to magnetic tape saturation.
● Tube Emulation produces distortion similar to valve amplifiers.

224
Cubase Pro 11.0.0
Included VST Instruments
Prologue

Drive
Sets the amount of distortion by amplifying the input signal.

Filter
Sets the crossover frequency of the distortion filter. The distortion filter consists of a
low-pass filter and a high-pass filter with a cutoff frequency equal to the crossover
frequency.

Tone
Controls the relative amount of low-pass and high-pass filtered signal.

Level
Controls the output level of the effect.

Delay
You can choose between 3 basic delay characteristics:

Song Sync
Activates/Deactivates tempo sync of the delay times.

Delay 1
Sets the delay time ranging from 0 ms to 728 ms. If MIDI sync is activated, the range is
from 1/32 to 1/1; straight, triplet or dotted.

Delay 2
Same as Delay 1.

Feedback
Controls the decay of the delays. With higher settings, the echoes repeat longer.

Filter
A low-pass filter is built into the feedback loop of the delay. This parameter controls the
cutoff frequency of this feedback filter. Low settings result in successive echoes
sounding darker.

Level
Controls the output level of the effect.

Modulation
You can choose between 3 basic modulation characteristics:

Song Sync
Activates/Deactivates tempo sync of the Rate parameter.

Rate
Sets the rate of the LFOs modulating the delay time. If Song Sync is activated, the rate
is synchronized to various beat increments.

225
Cubase Pro 11.0.0
Included VST Instruments
Retrologue

Depth
Controls the depth of the delay time modulation.

Delay
Sets the delay time of the four delay lines.

Feedback
Controls the amount of positive or negative feedback for all four delay lines.

Level
Controls the output level of the effect.

A bonus effect of using lower sample rates is that it reduces the load on the computer CPU,
allowing for more simultaneous voices to be played, etc.

Retrologue
This VST instrument is described in detail in the separate document Retrologue.

226
Cubase Pro 11.0.0
Included VST Instruments
Spector

Spector

The synthesis used by Spector is based around a spectrum filter. This allows you to specify the
frequency response by drawing a filter contour in the spectrum display. Slightly simplified, the
signal path is the following:

● The starting point is the sound generated by up to 6 oscillators.

You can choose between different numbers of oscillators in different configurations (in
octaves, in unison, etc.). The oscillators can also be detuned for fat sounds or extreme
special effects.
● Each oscillator produces two basic waveforms, labeled A and B.
You can choose between six different waveforms, independently selected for A and B.
● The two waveforms pass through separate spectrum filters (A and B).
You can draw different spectrum contours for the two filters, or select a contour from the
included presets.
● The Cut 1 & 2 parameters allow you to shift the frequency range of the spectrum filter.
This makes it easy to create unique-sounding filter sweeps.
● A Morph control lets you mix the output of spectrum filters A and B.
Since this can be controlled with envelopes, LFOs, etc. That allows you to create morphing
effects.
● Controllers and modulation parameters are also available.

227
Cubase Pro 11.0.0
Included VST Instruments
Spector

Functional Diagram

Sound Parameters

Oscillator Section

A/B Waveform Pop-up Menus

This is where you select basic waveforms for the A and B output of the oscillators. The options
are best suited for use with the spectrum filter.

Coarse and Fine

These parameters provide overall transposition and tuning of the oscillators (common for all
oscillators, A and B waveforms).

Oscillator Pop-up Menu

This pop-up menu is opened by clicking on the arrow below the central section (which illustrates
the selected oscillator configuration).

228
Cubase Pro 11.0.0
Included VST Instruments
Spector

6 Osc
6 oscillators with the same pitch.

6 Osc 1:2
3 oscillators with base pitch and 3 pitched one octave down.

6 Osc 1:2:3
Three groups of two oscillators with the pitch ratio 1:2:3 (2 oscillators with base pitch, 2
oscillators at half the frequency of the base pitch, and 2 oscillators at a third of the
frequency).

6 Osc 1:2:3:4:5:6
6 oscillators tuned with the pitch ratio 1:2:3:4:5:6 (known as the subharmonic series).

4 Osc 1:2
2 oscillators with base pitch and 2 pitched one octave down.

3 Osc
3 oscillators with the same pitch.

2 Osc
2 oscillators with the same pitch.

2 Osc 1:2
One oscillator with base pitch and one pitched one octave down.

1 Osc
A single oscillator. In this mode, the Detune and Cut II parameters are not active.

Detune
Detunes the oscillators. Low values give gentle chorus-like detuning. Raising the control detunes
the oscillators by several semitones for special effects.

Raster
Reduces the number of harmonics present in the oscillator waveforms in the following manner:

● If 0 is selected, all harmonics are present.

● If 1 is selected, only every second harmonic is present.
● If 2 is selected, only every third harmonic is present.

And so on.

229
Cubase Pro 11.0.0
Included VST Instruments
Spector

The Mode switch allows you to apply glide only if you play a legato note. Legato mode only works
with monophonic parts.

Spectrum Filter Sections

This is where you create the contours, that is, frequency response characteristics, for the two 128
pole resonant spectrum filters A and B.

● You can use the Preset pop-up menu to select a preset contour.
● To change the contour, click and draw with the mouse.
● If you want to calculate a random spectrum filter curve, select Randomize from the Preset
pop-up menu.
Each time you choose this function, a new randomized spectrum is calculated.

Cut I and II

These parameters work like cutoff frequency controls on a conventional filter: With the Cut
controls at the maximum setting, the full frequency range is used for the spectrum filter.
Lowering the Cut controls gradually moves the entire contour down in frequency, closing the
filter.

NOTE

● If a 2 oscillator configuration is used, you can set different cutoffs for the two oscillators. If
more than two oscillators are used, they are internally divided into two groups, for which you
can set independent cutoffs with Cut I and Cut II.
● If the Spectrum Sync button (link symbol) between the cut controls is activated, the two
knobs are linked and follow each other and are set to the same value.

Morph
Controls the mix between the sound of spectrum filters A and B. If the Morph knob is turned
fully left, only the A sound is heard. If it is turned right only the B sound is heard. This allows you
to seamlessly morph between two totally different sounds.

230
Cubase Pro 11.0.0
Included VST Instruments
Spector

Master Volume and Pan

The master Volume knob controls the master volume (amplitude) of the instrument. By default,
this parameter is controlled by Envelope 1, to generate an amplitude envelope for the oscillators.

The Pan knob controls the position of the instrument in the stereo spectrum. You can use Pan as
a modulation destination.

Modulation and Controllers

The following pages are available:

RELATED LINKS
LFO Page on page 203
Envelope Page on page 205
Event Page on page 207
Effects (EFX) Page on page 208

Depending on the selected preset, there may already be modulation destinations assigned, in
which case these are listed in the Mod Dest box for each LFO.

A low frequency oscillator (LFO) is used for modulating parameters, for example the pitch of an
oscillator (to produce vibrato), or for any parameter where cyclic modulation is required.

The two LFOs have identical parameters.

231
Cubase Pro 11.0.0
Included VST Instruments
Spector

Speed
Governs the rate of the LFO. If the sync mode is set to MIDI, the available rate values
are selectable as note values, so the rate is synchronized to the sequencer tempo.

Depth
Controls the amount of modulation applied by the LFO. If this is set to zero, no
modulation is applied.

Waveform
Sets the LFO waveform.

Sync mode (Part/MIDI/Voice/Key)

Sets the sync mode for the LFO.

RELATED LINKS
Assigning LFO Modulation Destinations on page 204

About the Sync Modes

The sync modes determine how the LFO cycle affects the notes you play.

Part
In this mode, the LFO cycle is free running and affects all the voices in sync. Free
running means that the LFO cycles continuously, and does not reset when a note is
played.

MIDI
In this mode, the LFO rate is synced in various beat increments to MIDI clock.

Voice
In this mode, each voice in the Part has its own independent LFO cycle (the LFO is
polyphonic). These cycles are also free running – each key down starts anywhere in the
LFO cycle phase.

Key
Same as Voice except that it is not free running – for each key down the LFO cycle
starts over.

About the Waveforms

● In this mode, the LFO makes use of the other LFO as well.
For example, if LFO 2 is set to use Sample, the resulting effect also depends on the speed
and waveform of LFO 1.

Assigning LFO Modulation Destinations

You can assign a modulation destination for an LFO.

232
Cubase Pro 11.0.0
Included VST Instruments
Spector

2. Select a destination, for example, Cut.

Assigning LFO Velocity Destinations

You can also assign velocity-controlled LFO modulation.

PROCEDURE
1. Click in the Vel Dest box for one of the LFOs.
A pop-up menu appears in which all possible velocity destinations are shown.
2. Select a destination.
The selected velocity destination is now shown in the list. Beside the destination, a default
value (50) has been set. The value represents the modulation amount.
● You can set positive and negative values by clicking on the value in the list, typing in a
new value, and pressing Enter .
To enter negative values, type a minus sign followed by the value.
3. Using the same basic method, you can add any number of velocity destinations for the LFO.
They are all listed in the Vel Dest box.
● To remove a velocity destination, click on its name in the list and select Off from the pop-
up menu.

LFO modulation velocity control

If you follow the steps above and select the Cut parameter as a Velocity destination, the
following happens:

233
Cubase Pro 11.0.0
Included VST Instruments
Spector

Envelope generators govern how a parameter value changes when a key is pressed, when a key
is held and finally when a key is released.

On the Envelope page, the parameters for one of the four envelope generators is shown at a
time.

The Envelope parameters are as follows:

Decay
After the maximum value has been reached, the value starts to drop. How long this
takes is governed by the Decay parameter. The Decay has no effect if the Sustain
parameter is set to maximum.

Sustain
Determines the level for the envelope after the Decay phase. Note that Sustain
represents a level, whereas the other envelope parameters represent times.

Release
Determines the time it takes for the value to fall back to zero after releasing the key.
Range is from 0.0 milliseconds to 91.1 seconds.

Punch
If Punch is activated, the start of the decay phase is delayed a few milliseconds, that is,
the envelope stays at top level for a moment before moving on to the decay phase. The

234
Cubase Pro 11.0.0
Included VST Instruments
Spector

result is a punchier attack similar to a compressor effect. This effect is more

pronounced with short attack and decay times.

Assigning Envelope Modulation Destinations

You can assign a modulation destination for an envelope.

Assigning Envelope Velocity Destinations

You can also assign velocity-controlled envelope modulation, that is, the modulation is governed
by how hard or soft you strike a key.

235
Cubase Pro 11.0.0
Included VST Instruments
Spector

Envelope modulation velocity control

If you follow the steps above and select the Cut parameter as a Velocity destination, the
following happens:

Event Page
The Event page is opened by clicking the EVENT button at the top of the lower half of the control
panel. This page contains the most common MIDI controllers and their assignments.

Modulation Wheel
The modulation wheel on your keyboard can be used to modulate parameters.

Velocity
Controls parameters according to how hard or soft you play notes on your keyboard. A
common application of velocity is to make sounds brighter and louder if you strike the
key harder.

Aftertouch
Aftertouch, or channel pressure, is MIDI data sent when pressure is applied to a
keyboard after the key has been struck, and while it is being held down or sustained.
Aftertouch is often routed to control filter cutoff, volume, and other parameters to add
expression.

Key Pitch Tracking

This can change parameter values linearly according to where on the keyboard you
play.

Assigning a Controller to a Parameter

236
Cubase Pro 11.0.0
Included VST Instruments
Spector

● To remove a modulation destination, click on its name in the list and select Off from the
pop-up menu.

Effects (EFX) Page

Distortion
You can choose between 4 basic distortion characteristics:

● Distortion provides hard clipping distortion.

● Soft Distortion provides soft clipping distortion.
● Tape Emulation produces distortion similar to magnetic tape saturation.
● Tube Emulation produces distortion similar to valve amplifiers.

Drive
Sets the amount of distortion by amplifying the input signal.

Filter
Sets the crossover frequency of the distortion filter. The distortion filter consists of a
low-pass filter and a high-pass filter with a cutoff frequency equal to the crossover
frequency.

Tone
Controls the relative amount of low-pass and high-pass filtered signal.

Level
Controls the output level of the effect.

Delay
You can choose between 3 basic delay characteristics:

Song Sync
Activates/Deactivates tempo sync of the delay times.

237
Cubase Pro 11.0.0
Included VST Instruments
Spector

Delay 1
Sets the delay time ranging from 0 ms to 728 ms. If MIDI sync is activated, the range is
from 1/32 to 1/1; straight, triplet or dotted.

Delay 2
Same as Delay 1.

Feedback
Controls the decay of the delays. With higher settings, the echoes repeat longer.

Filter
A low-pass filter is built into the feedback loop of the delay. This parameter controls the
cutoff frequency of this feedback filter. Low settings result in successive echoes
sounding darker.

Level
Controls the output level of the effect.

Modulation
You can choose between 3 basic modulation characteristics:

Song Sync
Activates/Deactivates tempo sync of the Rate parameter.

Rate
Sets the rate of the LFOs modulating the delay time. If Song Sync is activated, the rate
is synchronized to various beat increments.

Depth
Controls the depth of the delay time modulation.

Delay
Sets the delay time of the four delay lines.

Feedback
Controls the amount of positive or negative feedback for all four delay lines.

Level
Controls the output level of the effect.

238
Cubase Pro 11.0.0
Included VST Instruments
Spector

A bonus effect of using lower sample rates is that it reduces the load on the computer CPU,
allowing for more simultaneous voices to be played, etc.

239
Cubase Pro 11.0.0
Index

A Delays (continued)
MultiTap Delay 28
Ambisonics PingPongDelay 40
VST AmbiConverter 4 Quadrafuzz v2 49
VST AmbiDecoder 149 StereoDelay 41
Amp Simulation Density 173
AmpSimulator 42 Distortion 45
Quadrafuzz v2 49 Distroyer 46
VST Amp Rack 53 Dithering
VST Bass Amp 59 UV22HR 110
AmpSimulator 42 DJ-EQ 94
Analyzers DualFilter 104
SuperVision 4
Arpache 5 156
Arpache SX 158 E
Auto LFO 160 Envelope Shapers
AutoPan 110 EnvelopeShaper 71
MultibandEnvelopeShaper 81
B Expanders
Expander 72
Beat Designer 161 MultibandExpander 83
BitCrusher 43
Brickwall Limiter 66
F
C Flanger 115
Frequency 2 94
Chopper Effects
AutoPan 110
Chopper 112 G
Chorder 167 Gates
Chorus Effects Gate 73
Chorus 113 Quadrafuzz v2 49
StudioChorus 122 VSTDynamics 90
Cloner 114 GEQ-10 100
Compressors GEQ-30 100
Compressor 67 Groove Agent SE 186
Compressor (MIDI) 171 Grungelizer 47
DeEsser 69
Maximizer 76
MultibandCompressor 79 H
Squasher 85
HALion Sonic SE 186
Tube Compressor 88
Vintage Compressor 89
VSTDynamics 90 I
Context Gate 172
CurveEQ 93 Imager 146

D L
DaTube 44 Limiters
DeEsser 69 Brickwall Limiter 66
Delays Limiter 75
Cloner 114 Maximizer 76
ModMachine 25 VSTDynamics 90
MonoDelay 27 LoopMash 186

240
Cubase Pro 11.0.0
Index

LoopMash FX 126 S
Saturation
M DaTube 44
Magneto II 48 Magneto II 48
Maximizer 76 Quadrafuzz v2 49
Metalizer 116 SMPTEGenerator 151
Meters SoftClipper 52
SuperVision 4 Spector 227
Micro Tuner 177 Squasher 85
MIDI Control 174 StepDesigner 179
MIDI Echo 174 StepFilter 106
MIDI Gate 77 StereoDelay 41
MIDI Modifiers 176 StereoEnhancer 148
MIDI Monitor 176 StudioChorus 122
Mix6to2 149 StudioEQ 102
MixConvert V6 147 SuperVision 4
MixerDelay 150
ModMachine 25 T
MonoDelay 27
MonoToStereo 148 TestGenerator 153
MorphFilter 105 ToneBooster 108
MultibandCompressor 79 Tools
MultibandEnvelopeShaper 81 SuperVision 4
MultibandExpander 83 Track Control 182
MultiTap Delay 28 Tranceformer 123
Mystic 198 Transformer 185
Tremolo 124
Tube Compressor 88
N Tuner 154
Note to CC 178
U
O UV22HR 110
Octaver 128
V
P Vibrato 125
Padshop 210 Vintage Compressor 89
Phaser 117 VST AmbiConverter 4
PingPongDelay 40 VST AmbiDecoder 149
Pitch Correct 128 VST Amp Rack 53
Prologue 211 VST Bass Amp 59
VST Connect CUE Mix 125
VST Connect SE 125
Q VST MultiPanner 149
VSTDynamics 90
Quadrafuzz v2 49
Quantizer 178
W
R WahWah 109
Retrologue 226
REVelation 131
REVerence 133
RingModulator 118
RoomWorks 143
RoomWorks SE 145
Rotary 120

241
Cubase Pro 11.0.0

Topic 7 Digital Audio Production
No ratings yet
Topic 7 Digital Audio Production
90 pages
Mixing Audio
No ratings yet
Mixing Audio
17 pages
Superior Drummer 3 Manual
100% (3)
Superior Drummer 3 Manual
183 pages
Why Your Recordings Sounds Like Ass?
No ratings yet
Why Your Recordings Sounds Like Ass?
261 pages
Creating A Basic Drum and Bass Track
No ratings yet
Creating A Basic Drum and Bass Track
304 pages
EQ Magazine Feburary 2010
No ratings yet
EQ Magazine Feburary 2010
70 pages
RA202C-1 Audio Post Production
No ratings yet
RA202C-1 Audio Post Production
30 pages
Mixing 1 - Clarity - 4 EQ Techniques
No ratings yet
Mixing 1 - Clarity - 4 EQ Techniques
4 pages
Pro Tools Reference Guide
No ratings yet
Pro Tools Reference Guide
1,638 pages
Automatic Climate Control System
100% (1)
Automatic Climate Control System
9 pages
BFI Sound Design & Mixing Handbook
100% (1)
BFI Sound Design & Mixing Handbook
14 pages
SSM Additive Synthesis
100% (1)
SSM Additive Synthesis
10 pages
Pro Tools
No ratings yet
Pro Tools
287 pages
The Film and Media Creators Guide To Music - Nodrm PDF
No ratings yet
The Film and Media Creators Guide To Music - Nodrm PDF
338 pages
Steinberg Cubase Keyboard Shortcuts
100% (2)
Steinberg Cubase Keyboard Shortcuts
6 pages
Microphone Guide 2010
100% (1)
Microphone Guide 2010
36 pages
Yamaha cs1x Blue Book
No ratings yet
Yamaha cs1x Blue Book
53 pages
Stereo Recording Techniques e
No ratings yet
Stereo Recording Techniques e
1 page
Sound Recording Laa
No ratings yet
Sound Recording Laa
44 pages
Considering Space in Music, Moylan
100% (1)
Considering Space in Music, Moylan
18 pages
How To Create A 3D Mix
No ratings yet
How To Create A 3D Mix
1 page
Majestica 2.0
No ratings yet
Majestica 2.0
22 pages
Using Pro Tools Sketch Guide
No ratings yet
Using Pro Tools Sketch Guide
78 pages
The Interface Users Guide To Making Music PDF
No ratings yet
The Interface Users Guide To Making Music PDF
41 pages
BSD Guidebook
No ratings yet
BSD Guidebook
115 pages
Ultimate Midi Guide From PDF
100% (2)
Ultimate Midi Guide From PDF
4 pages
Studio One 5.3 Reference Manual 22072021
No ratings yet
Studio One 5.3 Reference Manual 22072021
425 pages
Sound in Documentaries
No ratings yet
Sound in Documentaries
25 pages
Miroslav Philharmonik 2 Quick Start Guide
No ratings yet
Miroslav Philharmonik 2 Quick Start Guide
12 pages
Collection of 32 Sonokinetic
No ratings yet
Collection of 32 Sonokinetic
2 pages
Elysia Alpha Compressor Manual en
No ratings yet
Elysia Alpha Compressor Manual en
31 pages
Hans Zimmer: Crafting Emotions Through Music
100% (1)
Hans Zimmer: Crafting Emotions Through Music
2 pages
History of Sound Recording
0% (1)
History of Sound Recording
9 pages
Slate Digital VerbSuite Classics - User Guide - 2
No ratings yet
Slate Digital VerbSuite Classics - User Guide - 2
27 pages
Pro Tools Shortcuts PDF
No ratings yet
Pro Tools Shortcuts PDF
74 pages
Reverb Cheat Sheet
100% (3)
Reverb Cheat Sheet
3 pages
Korg Volca Editor Manual
No ratings yet
Korg Volca Editor Manual
8 pages
Trance Arrangement
No ratings yet
Trance Arrangement
4 pages
VC 2A Manual English
No ratings yet
VC 2A Manual English
14 pages
Music Theory Edm Cheatsheet PDF
No ratings yet
Music Theory Edm Cheatsheet PDF
2 pages
Unit-5 - Satellite Applications (Full Notes)
No ratings yet
Unit-5 - Satellite Applications (Full Notes)
51 pages
Make Some Noise Sample by Ric Viers
No ratings yet
Make Some Noise Sample by Ric Viers
30 pages
Unlocking The Mysteries of Diatonic Harmony - Art of Composing
100% (1)
Unlocking The Mysteries of Diatonic Harmony - Art of Composing
15 pages
MV 8800 ServiceNotes
No ratings yet
MV 8800 ServiceNotes
38 pages
8DIO Majestica User Manual
No ratings yet
8DIO Majestica User Manual
27 pages
What's New in Pro Tools 2024.3
No ratings yet
What's New in Pro Tools 2024.3
22 pages
IZotope Mastering and Repair Suite
No ratings yet
IZotope Mastering and Repair Suite
26 pages
Production Sound Essentials PDF
No ratings yet
Production Sound Essentials PDF
6 pages
Sound Synthesis and Manipulation: Sources
100% (1)
Sound Synthesis and Manipulation: Sources
10 pages
Guide To Compression
No ratings yet
Guide To Compression
2 pages
BF 888s Test Report 1
No ratings yet
BF 888s Test Report 1
27 pages
Pro Tools Keyboard Shortcuts PDF
No ratings yet
Pro Tools Keyboard Shortcuts PDF
6 pages
Hopping On Nokia
100% (2)
Hopping On Nokia
10 pages
High Output - How To Improve at Production by Making A Lot of Music - EDMProd PDF
No ratings yet
High Output - How To Improve at Production by Making A Lot of Music - EDMProd PDF
22 pages
808 Bass With Saturation - Attack Magazine
No ratings yet
808 Bass With Saturation - Attack Magazine
11 pages
Music Production Mastery-Step-by-Step Tutorials to Fast-Track Your Way to Professional Success
From Everand
Music Production Mastery-Step-by-Step Tutorials to Fast-Track Your Way to Professional Success
Neil J Milliner
No ratings yet
Soundstream 2013 Catalog
No ratings yet
Soundstream 2013 Catalog
31 pages
Gain Staging - The Bank Account of Your Mix PDF
No ratings yet
Gain Staging - The Bank Account of Your Mix PDF
15 pages
High Output - How To Improve at Production by Making A Lot of Music - EDMProd
No ratings yet
High Output - How To Improve at Production by Making A Lot of Music - EDMProd
22 pages
Deadmau5 EDM
No ratings yet
Deadmau5 EDM
9 pages
Additive Synthesis (Sometimes Referred To As Fourier Synthesis, As It
No ratings yet
Additive Synthesis (Sometimes Referred To As Fourier Synthesis, As It
2 pages
Making AESE More Flexible
No ratings yet
Making AESE More Flexible
3 pages
Re Verb Quick Guide
No ratings yet
Re Verb Quick Guide
2 pages
White Paper - Link 16 Overview
100% (1)
White Paper - Link 16 Overview
8 pages
20 Hot Metal Production Tips
100% (1)
20 Hot Metal Production Tips
3 pages
Free Energy From Thin Air!: Instructables
100% (2)
Free Energy From Thin Air!: Instructables
18 pages
Schematic) Is A Simplified Conventional Graphical Representation of An
No ratings yet
Schematic) Is A Simplified Conventional Graphical Representation of An
4 pages
Verus Manual Servicio PDF
No ratings yet
Verus Manual Servicio PDF
152 pages
Consoles Guide 2015
No ratings yet
Consoles Guide 2015
28 pages
Computer Music October 2017
No ratings yet
Computer Music October 2017
59 pages
FL Studio Tutorial - How To Create Impressive Piano Flourishes in FL Studio
No ratings yet
FL Studio Tutorial - How To Create Impressive Piano Flourishes in FL Studio
13 pages
Welcome to the Jungle: A Success Manual for Music and Audio Freelancers
From Everand
Welcome to the Jungle: A Success Manual for Music and Audio Freelancers
Jim Klein
No ratings yet
Popovers in Dorico: Bars and Barlines (Shift+B)
100% (1)
Popovers in Dorico: Bars and Barlines (Shift+B)
13 pages
Popovers in Dorico: Bars and Barlines (Shift+B)
100% (1)
Popovers in Dorico: Bars and Barlines (Shift+B)
13 pages
12 Songwriting Tips For Music Producers - Hyperbits
No ratings yet
12 Songwriting Tips For Music Producers - Hyperbits
13 pages
Agisson DX 1710 2170 65 18i 2F 1 PDF
No ratings yet
Agisson DX 1710 2170 65 18i 2F 1 PDF
1 page
The Step by Step Guide To Creating Plucks in Xfer Serum
No ratings yet
The Step by Step Guide To Creating Plucks in Xfer Serum
10 pages
Serum Wavetable Design (1 - 2) - Create Your Own Wavetable - Typhonic Samples PDF
No ratings yet
Serum Wavetable Design (1 - 2) - Create Your Own Wavetable - Typhonic Samples PDF
4 pages
Guitar Riffer Manual: Beijing Ample Sound Technology Co. LTD
No ratings yet
Guitar Riffer Manual: Beijing Ample Sound Technology Co. LTD
13 pages
Wfhc-Masterh&C-Rf 6 Zones
No ratings yet
Wfhc-Masterh&C-Rf 6 Zones
52 pages
Add - Binadd-Arth: Reference Manual Waveforms 2010
No ratings yet
Add - Binadd-Arth: Reference Manual Waveforms 2010
17 pages
Perfect Song Exercise
No ratings yet
Perfect Song Exercise
2 pages
A Socialist Cry For Civilisational Change - COVID-19 and The Failure of Neo-Liberalism - Economic and Political Weekly
No ratings yet
A Socialist Cry For Civilisational Change - COVID-19 and The Failure of Neo-Liberalism - Economic and Political Weekly
7 pages
IFS5906 Installation Guide (01) (PDF) - EN
No ratings yet
IFS5906 Installation Guide (01) (PDF) - EN
178 pages
Serum - 8 Helpful Tips and Tricks To Boost Your Serum Skills - Typhonic Samples PDF
No ratings yet
Serum - 8 Helpful Tips and Tricks To Boost Your Serum Skills - Typhonic Samples PDF
4 pages
10 Cool FL Studio Tricks You Aren't Using
No ratings yet
10 Cool FL Studio Tricks You Aren't Using
12 pages
The Impulse Response Bible
From Everand
The Impulse Response Bible
Past To Future
No ratings yet
Understanding Serum's Miscellaneous Filters
No ratings yet
Understanding Serum's Miscellaneous Filters
3 pages
Generating Profit Using Option Selling Strategies: August 2012
No ratings yet
Generating Profit Using Option Selling Strategies: August 2012
9 pages
How To Use The Canon Rebel SL2 - Tips, Tricks and Picture Settings - Tom's Guide PDF
No ratings yet
How To Use The Canon Rebel SL2 - Tips, Tricks and Picture Settings - Tom's Guide PDF
8 pages
파랭이 공중항법 (2016)
No ratings yet
파랭이 공중항법 (2016)
221 pages
Read Me
No ratings yet
Read Me
1 page
Gaposa R+T 2018
No ratings yet
Gaposa R+T 2018
128 pages
Preparing for Scoring Sessions
From Everand
Preparing for Scoring Sessions
Shie Rozow
No ratings yet
High-Definition Sound Processor
No ratings yet
High-Definition Sound Processor
11 pages
100 Next-Level Sound Design Tips & Tricks - EDMProd PDF
100% (2)
100 Next-Level Sound Design Tips & Tricks - EDMProd PDF
46 pages
Module 3 Sem 3 English
No ratings yet
Module 3 Sem 3 English
18 pages
Anamorphic Lenses - The Key To Widescreen Cinematic Imagery - B&H Explora
No ratings yet
Anamorphic Lenses - The Key To Widescreen Cinematic Imagery - B&H Explora
2 pages
BXP6401 IO Issue05
No ratings yet
BXP6401 IO Issue05
56 pages
CONTRATACIÓN Editable
No ratings yet
CONTRATACIÓN Editable
23 pages
Class e Instructions Rev2a
No ratings yet
Class e Instructions Rev2a
29 pages
HW-2 - 250130 - 114808 2
No ratings yet
HW-2 - 250130 - 114808 2
6 pages
Optical Fiber Communication (Complete) PDF
No ratings yet
Optical Fiber Communication (Complete) PDF
7 pages
Lab Report 3
No ratings yet
Lab Report 3
10 pages
Optimization Method of Magnetic Coupling Resonant Wireless
No ratings yet
Optimization Method of Magnetic Coupling Resonant Wireless
14 pages
Microwave Enginnering and Antennas
No ratings yet
Microwave Enginnering and Antennas
14 pages
Micro-Coaxial Fed 18 To 110 GHZ Planar Log-Periodic Antennas With RF Transitions
No ratings yet
Micro-Coaxial Fed 18 To 110 GHZ Planar Log-Periodic Antennas With RF Transitions
5 pages
6 Exercise in Digital Information Processing
No ratings yet
6 Exercise in Digital Information Processing
1 page
Listening English 1 Ejercicio
No ratings yet
Listening English 1 Ejercicio
2 pages
Impact of Telecommunications in The Modern Society
No ratings yet
Impact of Telecommunications in The Modern Society
3 pages
Btech Ec 7 Sem Wireless and Mobile Communication Kec076 2022
No ratings yet
Btech Ec 7 Sem Wireless and Mobile Communication Kec076 2022
1 page
Retrologue 2 Operation Manual en
No ratings yet
Retrologue 2 Operation Manual en
41 pages
Secrets To Better Composing & Improvising
100% (11)
Secrets To Better Composing & Improvising
130 pages

Cubase Pro 11 Plug in Reference en

Uploaded by

Cubase Pro 11 Plug in Reference en

Uploaded by

Plug-in Reference

4 Included Effect Plug-ins

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

For a description of VST AmbiConverter, see the Operation Manual.

Hold Current Values on Stop

Allows you to select a module for the selected slot.

Open Module Settings

Reset Module Values

Reset Module Values on Start

Splits the selected module slot horizontally.

This button is not available if a module is maximized.

Splits the selected module slot vertically.

This button is not available if a module is maximized.

Module Slot Controls

Remove module slot

Removes the module slot from the current plug-in layout.

Splits the module slot horizontally.

Splits the module slot vertically.

Module Settings Window

Maximum Audio Performance/Sample-Accurate Display

Sets the processing mode for the selected module.

Sample-Accurate Display is not available for all modules.

This setting is only available in Maximum Audio Performance mode.

Force Horizontal Display

This setting is not available for all modules.

Force Vertical Display

This setting is not available for all modules.

The following modules and module-specific settings are available:

M Max. (Momentary Max.)

Ref. True Peak

Tol. True Peak

Spectral Domain Modules

The following modules and module-specific settings are available:

This module runs in Maximum Audio Performance mode.

This module runs in Maximum Audio Performance mode.

The following modules and module-specific settings are available:

This option is only available if Auto Zoom is deactivated.

This option is only available if Auto Zoom is deactivated.

Spatial Domain Modules

The following modules and module-specific settings are available:

This module is only available for Ambisonics channel configurations.

The following modules and module-specific settings are available:

Alternatively, you can click the waveform of the corresponding channel.

This option is only available if Auto Zoom is deactivated.

The equivalent duration is limited to a minimum of 0.5 s and a maximum of 30 s.

This option is only available if Auto Zoom is deactivated.

The equivalent duration is limited to a minimum of 0.5 s and a maximum of 30 s.

Tempo Sync (Delay Modulation)

Tempo Sync (Delay)

Tempo Sync (Frequency)

Low Range/High Range (Frequency)

Tempo Sync (Q-Factor)

Low Range/High Range (Q-Factor)

Delay Character section

Show/Hide Delay Character Section

Character pop-up menu

Lock/Unlock Delay Value and Number of Taps

Erase Delay Line

Activate/Deactivate Tapping Mode

Play Sample Sound

Lock/Unlock Mix Value

Bypasses the effect chain in the corresponding effects section.

Loop Effects/Tap Effects/Post Effects

Show/Hide Functional Diagram

Tap Effects Options

If this option is activated, crackles may occur when bypassing or activating/

Parameter Link (only available in the Tap Effects section)

Tap 1-8 (only available in the Tap Effects section)

Activate/Deactivate Effect (only available in the Tap Effects section)

General Effect Settings

Solos the module. Only one module can be soloed at a time.

Removes the module from the module chain.

The following effect modules are available:

This plug-in works only on stereo tracks.

Start Left/Start Right

This plug-in works only on stereo tracks.

The equivalent duration is limited to a minimum of 0.5 s and a maximum of 30 s.

The equivalent duration is limited to a minimum of 0.5 s and a maximum of 30 s.

Release (10 to 1000 ms or Auto mode)

Release (10 to 1000 ms or Auto mode)

Release (10 to 1000 ms or Auto mode)