Advantages of Using Groove Agent over Groove Agent SE | Club Cubase September 3rd 2021

hi welcome to the september 3rd 2021 club cubase live stream we'll get started here in just a couple of minutes i'm going to do a quick audio test make sure everything is coming through fine on my monitoring computer hi welcome to the september all right hi my name is uh it sounds like everything is going through fine my name is greg undo i am a uh product specialist i work for yamaha corporation in america as a product specialist primarily focusing on steinberg products um so i'm based in alexandria virginia just outside washington dc area in the united states and how if you have not attended a live stream before how it works out is you can submit questions in advance by sending an email to clubcubase at steinberg.de or simply ask them in the live chat field so you see the chat field you just ask questions there the ability for people to ask questions at times will far exceed my ability to answer them in a real-time manner so i will probably fall behind as more people are getting logged into the live stream so i'll apologize in advance but a couple things that could help kind of speed up the process and help us get through more questions is uh if your question doesn't get an immediate response um if you could refrain from asking the question repeatedly because then i had to kind of read through all those and uh if when asking a question if you could specify which operating system that you're running in which version of cubase so if it's cubase 11 elements or cubase 10.5 pro that information will be helpful as well um so uh we will have an index uh posted shortly after the live stream hopefully tonight maybe early tomorrow morning with all the topics with time stamps and i'll be pinned to the top of the comments field excuse me and uh so if you want to see topics that have been covered you could just quickly click on the link and that will take you directly to that position in the time when we're discussing that particular topic uh if you wanted to search for previous uh live stream topics you could go to cubaseindx.com and uh and kudos to yan for setting up that website and you could just kind of do a search and i'll go through all of the indexes i've created for the various live streams and you could find questions so i think we're probably 12 000 plus questions since we kind of started up pandemic time uh i think the first pandemic live stream really started was march 17th of last year so uh thanks dion i want to give a special uh shout out also to agent k and to jazz dude who do some moderation we usually have a well-behaved um group but occasionally they can answer some questions and if there's any riff raff that kind of gets into the discussion or people kind of promoting weird things unrelated to steinberg stuff they could do some moderation so uh thanks to them in advance uh also another another another wonderful resource of information that's available uh for finding out information on cubase is you can check out the cubase nation discord site and uh jazz dude does a lot of work with that to get that up to speed uh so we'll go ahead and get started here in just a minute if you're attending the live stream please feel free to introduce yourself and tell us where you're from and also if we are um if this is your first live stream if you let us know that as well get started here in just a minute we realize that it is a holiday weekend at least in the united states so i'm probably one of the few people that's going to be working until five o'clock on friday today but uh we'll get through as many of the questions as we can so let's go ahead and get started uh let me just pop my chat out so i don't have to scroll through so many questions all right okay um so we see from evanger says uh greetings from just down the road so uh yeah let me know where you are down the road that'd be great um so the question is i just got a friend starting cubase 11 pro she has a different sound card for me can you walk us through how to set up the project so that she can open on her system uh example i set up tracks email or cubase project she opens it and doesn't rip her hair out trying to figure it out it's all there except to reconnect sound card uh please and thank you so sometimes if you change the um sound card you may just get like a a notice that these uh let me see if i could open up a project that came directly from someone um who's maybe has a different sound card than i do okay so let's say uh this project was done with a different audio interface so kind of when i open it up uh it will activate the particular project so i'm you know cubase will kind of automatically if you have your sound card that's defined in this studio setup at this point it should automatically be routed to whatever audio interface is currently active on the system if you have maybe it could be perhaps that the audio connections may show up for if you have like a number of input channels or output channels that are configured that you might have those particular settings that are being carried over within the project itself but um but if they're not mapped you could just you know if you're just you know say if you had you know 16 mono inputs in the project that those inputs will be carried over they could be remapped to inputs or just ignored and not configured here but i'm pretty sure that you won't have any problems just uh getting it to play back but if not you know just let me know you can send me an email at clubcubase at steinberg.d and uh just let me know um i'm not sure if i recognize uh the person from the handle but you know where so i'm just in alexandria between old town and mount vernon but just let me know where you live out of curiosity that'd be great sorry for the sneeze all right all right so we have dallas roof from uh las vegas uh see ted springerman's mentioning he's thinking of setting up an anechoic chamber in his garage but where will he keep all of his junk so just make sure all your junk is not reflective for audio all right and then so that may help but yeah good luck with setting up the anaco anechoic chamber hang on my son is knocking he's home from school for holiday i apologize for interruptions let's move on okay um so from a question from matthew elston uh please could you show how to edit a vocal track using the melody um or the melodyne type facility in cubase pro 11. so let's say if i have a particular project here and i have my lead vocal and i will come over here quickly let's go to my project and i'll just record track from the piano parts and now when i double click on a part i'll go to sample editor it's good to vary audio [Music] and then you want to click on edit very audio and it will do an analysis of your vocal part so let's say if i just wanted to listen to it here [Music] i could colorize it based on a chord track where you see green notes are within the chord blue notes are within the scale and red notes are out of key but if we wanted to do uh vocal editing we could have two different smart modes for tools i prefer to look at the show all smart controls and as we zoom in here uh it will show you kind of what the different controls uh will allow you to do so um so if i quickly wanted to just take a number of you know like a phrase i could take this particular phrase come here and grab the bottom center and that will center the pitch just uh to the nearest uh value there to knock it in tune so a lot of times you can get by just kind of doing that for simple stuff that's maybe the intonation's a little suspect uh some of the other functions if you wanted to come over here and just adjust the vibrato to get to get rid of vibrato so if you wanted to [Music] so you could go kind of extreme amounts there or you could kind of go in between as we want to adjust vibrato you may run into different situations let's see if we can find one kind of the transitions between notes can often be really critical so let's say if we are around here we could actually as we hover over um i could just choose to kind of set ranges here where this vibrato as i adjust the vibrato that it won't kind of affect the transition between notes because that's kind of a giveaway with a lot of vocal tuning so you could kind of set the range if you have someone that just is drifts flat at the end of notes which is pretty common like we see here uh i could just grab this little uh diamond in the center and at this point we could choose to just kind of bring up pitches that kind of drift flat like that uh so we could just kind of do that and we could do that at the beginning and if you hold down the alt key i believe it's the alt key that you could kind of tilt the pitch just like that so if you wanted to do you know some creative aspects like that um if we wanted to just say okay i want this note to last longer you could just grab it by the edge or say okay i want this to start earlier just kind of grab the note by its edge if you find that as you're adjusting uh vibrato that you know if you did like a big jump like maybe an octave or you know major six you could come over here and adjust the formant control and these parameters are here but you know once you have kind of the smart control set to all that at that point these functions will just kind of show up directly there and we could also adjust the volume so if you find that you know one word is just a little too loud while you're doing vocal tuning you could adjust the volume uh we could also just come over here and say okay if i wanted to see like a midi part underlying uh we could have a midi reference part so if you wanted to make sure that as you adjust the notes it's gonna fall directly on a note from the chord from a midi track such as the piano you could do stuff like that we could also choose to do midi input so if you say okay i want this note here you know to actually and if you want want to hear the notes you don't hear it initially just kind of click on this particular icon here this little speaker and then as you select the notes uh you'll be able to hear them sound so i could just [Music] so and if i wanted to just put midi input on i could just play [Music] and i could just play the midi note and just set the pitch from the midi note itself so that's some of the cool stuff that you could do in very audio for doing vocal tuning matt okay so we have yon checking in from stockholm great to see you on the zoom meetup and all the other people too is really wonderful all right we have robbie bowling checking in from dallas and also wonderful to see sable on the live stream sharing great wisdom all right uh so we see from igor question um when i have a large project that exceeds the capacity of my ram cubase or windows temporarily takes up to 15 gigabytes of system disk however when i close down the project not all gigabytes are restored so i think we talked about this last week that it could be you know particular plug-ins sometimes don't release their memory uh so check you know if you have like plug-ins like samplers with large sample libraries um sometimes they may still be you know they may not uh close up the particular memory so they may not close out memory so see if you get isolated to a particular plug-in okay so you see from uh dallas arrow my preview on media bay still doesn't work on audio samples it works for midi samples but not audio something changed when i added a vst instrument from steinberg thanks craig um so let's take a look so i'll just kind of come over here to loops and let's take a listen to so if i come over here you know make sure that um you know when we come over here that you have the preview enabled uh make sure that this volume is up all the way because if that's down you may not hear it one other thing that it might be is there's a preference that may also trigger this uh so if we go to um i think to the control room where you can say uh use phone channels as preview channel so if you go to preferences under vst to control room make sure that you use phones channels preview channel because now i believe that when i get a preview it would go to my headphone channel and not to my speakers through the control room to check that preference that's when it sometimes can get enabled by default and now that's turned off you could give that try so check that one particular preference dallas all right so we have tony checking in from australia thanks for joining us it's probably the middle of the night very late or very early all right we have tim weinheimer and john costigan who are also on the zoo up and marcos who's on the zoom meetup i think it was marcos first time all right we have german nuclear war from serbia frederick from stockholm are you a peter checking in from montreal okay so you see uh from ted springerman uh greg thanks for the lanes to track answer i'm wondering if there's a preference setting that would automatically unmute each pass in real time so i can hear when i have enough doubling to stop so there really isn't you know you kind of keep going and it's not kind of like a sound on sound so some people i know if they're creating a quick loop recording you know if they wanted it to [Music] uh be that way is you know they may just set up you know let's say 16 tracks of audio routed out to the same inputs and let's say we'll put in just a quick cycle loop recording so what some people used to do is is kind of very analogous to uh like an analog tape deck where they just kind of would hit record and when they get to the ear they would just and keep stacking manually this way it can sometimes not be the most efficient but if you just kind of go down at the end you could just hit the down arrow and this way all the other events are still muted so that that could be a way of doing it where not everything is muted but um you're always like as you see even when i'm doing it that there's a possibility of missing a little bit of audio um so i still think that probably the you know muting the event unmuting the events is a pretty good workflow away okay so we just see uh hi greg did you get an answer for what is the set device attenuation to zero db so this is actually a core audio setting so when we come over here you know and that's kind of the main system you know the the audio subsystem that's used on mac os and i think the intention is from what i was able to gather is that you know if you just have like let's say your volume down here like let's say maybe you're doing web browsing and you just have your volume control set to here that with this particular check box enabled once we go to the control panel that when cubase plays that it's not going to attenuate the volume but it sets the output volume for the particular core audio device that you have cubase working with to 0 db so that you don't have to reset gain structure just because there's an in a web ad that you're playing through that got annoying and you adjusted your volume down from the operating system all right so we see that uh marcos gomez loves the tube compressor and studio eq so okay so question from yan um so sample question sample editor i think i've seen you use sample editor to test different melody ideas on a vocal sample can you share it again or do i remember wrong so it might be dealing with the um the sample track uh so let's say if if i want to do it you know in the sample editor i may just come over to let's say if we go here you know and try different uh melody ideas maybe with the particular uh you know with very audio but i think maybe what you're referring to and you can let me know if i'm mistakenly on is just coming over here and if i drag the melody into the sample track that i could come over here and just kind of do slices and now once i've created slices [Music] and i think i have a project that shows this pretty well let me see if i still have it open yeah so let's say i jump here so and it's just using the sampler track uh so say if i wanted to go here and i had just uh one particular vocal file no time to hesitate it's all been done you wanna have it you can't get enough and i just kind of went through and you know put slices at different phrases so i could just you wanna you wanna know you wanna win you wanna hesitate hesitate you wanna hesitate con so you could just kind of come over here and just trigger different midi notes you wanna hesitate enough baby baby baby then enough can hesitate time time you get [Music] so you could just kind of come over here so if somebody just kind of vamped out you know like different vocal improvisations you could then just kind of come over here and do vocal chops and you know create a melody very quickly using the sampler track so let me know if that's what you're referring to yawn okay uh so we see a question uh if i unmix a file in spectral layers can i further unmix one of the unmixed files uh i haven't tried but you probably can uh you might have to just you know bounce it as a separate track but let's take a look and see if we could do that uh all right so we're unmixing our vocals drums so usually when you're doing this it's kind of isolating the different components so we could have it broken down into [Music] our different layers and now i could take these particular layers let's say if i wanted to take um the drums i could just drag this into the project window [Music] and let's see if i could now come over here and let's see if we unmix stems from there [Music] so let's say i just want to do drums and bass so it looks like it's doing it um so a lot of times after it's been unmixed you know depending on the material so if i have um so just for my drums i could have the different components broken up as well as from the original track so so it looks like you can i'm not sure if it will give you kind of you know the results that you want but you could definitely process it twice okay um so i just see when will axr for soft be updated so you can see it in the inspector while using the control room so i've been kind of asking for this from our yamaha colleagues for uh a long time uh but you know one of my friends what he does with his ax r4 is he just sets the you know if he's not using in his situation he's not using all the outputs so he sets an audio output and he busses this to like you know 8.27 and 8 and then just sets up the control room and then if you have that configured that way you could see the axr control panel so maybe just send it to uh two outputs so if you're not using all the adac connections send it to that but i'll make sure to pass along to our yamaha development team for that as well okay so to see a question i was asking if cubase 11 has a tonal balance control thank you for replying so you know usually tonal balance control you know people might consider that an eq i guess uh but let's say if i just wanted to you know adjust the tones and if we wanted to do this pretty easily i'll just pull up like a quick two-track mix file so if we wanted to do like tonal balancing on it so you know we could do it directly here on the channel eq or if you want to be a bit more surgical you can go into frequency eq and here we could do stuff like okay i wanted to just eq uh the middle part of the panning spectrum but not the edges so if i wanted to make the edges really bright but take the middle part of the painting spectrum and dip that or if i wanted to have like independent left right controls i could eq the right channel independently of the left channel uh and this could all be done with linear phase we could also click on dynamic mode so you could have dynamic eq kind of built in so let me know if that's what you mean by tonal balance uh but that will allow you to kind of get you know the tones like the lows mids and highs kind of imbalance with each other all right so we see agent k's on the live stream thanks for joining us okay so i just see uh hi from uh bergen in norway uh could you show how to attach a vocal to the rhythm of the beat uh don't know how to explain properly hope you know what i mean so let's say i'll give it a shot to think maybe it's maybe like kind of quantizing the vocal so let's take a look um all right so if we want to kind of like position the vocal and be able to kind of move it uh based on the grid you know some things that we could do is if we just go to into the sample editor here and go to hit points we can find kind of like you know again cubase will automatically kind of detect the hit points at rhythmically significant events in the file and you can manually add these and we can choose to create warp markers so now if i wanted to go to audio warp i could now just enable free warp and if i wanted to if this came in a little early or a little late we could just move these particular phrases and have them line up to the grid so let me know if that's what you mean if not uh you know maybe someone could help translate and we had bke beats was um asking if someone else speaks uh french so maybe he needs some translation i'm sorry for my ignorance of languages we see jazz dudes talking and just bringing up the point of the current summer promotion that's going on so make sure you check that out there's a lot of stuff that's 50 off of libraries and instruments including like the full version of groove agent okay so we have a question uh can i set up the lower zone to display score notes that i just played on the violin so when i'm in loop mode when i know what notes to repeat for doubling purposes all right so let's go to so if you want to do it from an audio part um you know we could go into the sample editor here let's go to very audio and if i wanted to you know take this i could uh under function so if it's audio i could just say i want to extract the audio and now when i come here i could look at my audio part as the score editor if you wanted to and we could obviously kind of clean that up a bit i'll just do a quick clean up so and now as i would play we could just kind of see like the score view and we could you know do further cleanups there um so once you have the audio turned into midi you could look at it as a key editor or drum editor or the score editor so you could look at it like that and with any midi part ted you could just come over here and within the lower zone just kind of see uh you know switch between three different midi editing views like that but that's actually just the melody or like a violin part that was extracted through very audio and put onto its own track so if you need to use that as a reference you could do that all right uh so we have a question from john costigan um hello greg what is the method to transfer instrument names directly from howie and sonic and groove agent se5 to the audio tracks they are assigned to or did i just stream this um okay so it could you know one easy way to do this so i'm not sure when you say it's transferring to audio tracks but let's say if i start off uh with my project here and i go to my media jump home and let's say i go to my vst instruments so let's say if i go to a hallian patch here so i will [Music] jump right over here so say okay now i just wanted to go to amped electra so if i drag over the name of the preset from uh amped electra and just kind of drag it over this will load up the particular instrument and we see that it's fancy chords here so this is automatically carries the name of the preset directly over so now if i just wanted to you know play that particular um event you know we could let me just make sure my audio is still [Music] so like as we would come over here we can now uh just be able to kind of so drag over the instrument and we could see the name so even if i wanted to come over here to groove agent se um so say i go to fusion ensembles and i drag from so instead of loading the instrument maybe select a preset here and then that would automatically that would automatically carry the name over and then as you do rendering you do rendering in place you export files the name of the preset will be the basis of the track as opposed to loading up the instrument so let's say if i come here and i just want it to load up you know pad shop now i see the name will be patchopo one the name of the instrument as opposed to the name of the preset so let me know if that makes sense john so we have a question i have three cubase uh 11 on three different locations is it possible to give one of the cubase one of the cubase to a friend as a gift and how would he go about putting the license under his name and computer so you could definitely give it um there may be a license transfer fee i haven't looked into this in a while uh but you may have to unassign it from your my steinberg account and have him register it under his my steinberg account i'm not sure if there is a license transfer fee for that uh but you know if you want it to still be the name on it he gets just still use the the other person could use the cubase pro 11 and it's fully licensed and you know no one's really gonna know okay so you see a question uh hi greg hope you're having a nice day i'm doing well thanks getting ready for a nice holiday weekend here in in the us uh could you teach us how to shape the sub on a kick sample okay so let's say um so the first thing i would really kind of probably start with is using like uh the envelope shaper plug-in all right so let's say if i have um say if i have a pattern here [Music] all right and let me just kind of loop and loop this and solo it all right so let's say if i have this um sorry [Music] you know so if you actually just kind of look at the [Music] all right so let's say i'm going to send these out to my two kicks out of bus two so now my kicks are just gonna be processed out of this particular bus and if i wanted to do like you know particular processing on it you know at this point [Music] so when i go to the channel strip even you could just go right over here and under tools just go to the envelope shaper [Music] so and you could also run this as kind of its own plug-in i'll just run it here under dynamics so i'll just come over here to the envelope shaper so if i wanted more attack on it [Music] and i'll just go ahead and just solo that so let's say i want less attack [Music] i want more release where i want it to be like super tight [Music] and more attack [Music] or a lot more release [Music] adjust the length and you can even adjust the output here [Music] and if you want to do this kind of like you know on the whole drum kit [Music] you know you could do this let's say i'll just bypass this and i'll just put it here so everything will get processed together [Music] but if you want to make your drums really kind of pop you know instead of see people spending hours you know doing [Music] real extreme or if you want to be like super tight [Music] or kind of loose and flabby so play around with kind of the envelope shaper [Music] and you can get some great results for drums directly from there okay just lost my place let me just jump back bear with me just second okay so you just see uh from gunner 3334 every time i load my project i have to manually load my control room preset to activate the right outputs uh can i autoload this so usually the control room kind of sticks i've seen sometimes you know where maybe like an hdmi audio output can trigger if you have something kind of connected via hdmi where i see it more on mac where that could kind of trigger the core audio settings where you have to kind of define the audio interface all the time um but you know see if all right um but you know when i whenever i kind of load up i don't have to reset the control room unless like my audio interface wasn't connected or is connected in kind of a different order all right so we have jean-marie horvat on the live stream it's wonderful to have you on the zoo meetup all right michael pierce joining us as well who's also in the zoo meetup all right uh so we see the nature of sound oh yes greg i'd also like to ask if it's possible to get a decent sounding violin sound out of retrolog and how could i approach to getting something like that um [Music] okay um so you know if i was looking for like an authentic violin sound i probably wouldn't go for retrolog um you know if you're going for the um you know if you're going for like an authentic sound you know retrolog is intended to be an analog synth uh you know and i remember my friend getting his first moog synth in 1980 or 81 and you know we spent like you know 20 minutes making all the pictures you know to make the moog sound like a trumpet according to the manual and you know it's still every every time we tried like a real instrument it still sounded like a moog synth um but if i was kind of to start somewhere you know you i would you know perhaps i think if we go to [Music] there are some like pads sound uh i say there's like one like almighty strings and this is a pretty good you know it's not you know again it's probably not like you know you could probably spend a long time to do it or just go into you know hallie and sonic and you know the hallian sonic se and probably come up with something if you want it to be more i'll just try from you know strings and let's say okay i want to do section and [Music] so you know if you wanted to do something more long something more realistic [Music] you know i would definitely and this is just the included content if you want even more you know go for like uh absolute five which will have like the howie and symphonic orchestra which is a wonderful orchestral instrument for a hundred bucks it's easy to use as well so we see that evanger is just west of old town so yeah i remember i think we spoke last year about that so around beginning a pandemic all right we see uh sweet spot studios looking for recommendations of system systems engineer who who specializes in tuning computers and networks for music production so jazz dude may i think he does a lot of that so um he may be a great resource on that okay uh we see hello greg my midi recordings are sounding choppy could you please guide me through the right setting and proper midi quantizing thank you very much all right so let's say if i just had a um you know i just want to do a quick recording here um and let me just okay so say i'm just kind of playing along all right so one of the things to be aware of let me just get beyond our events here um make sure that you don't have aq on you know so a lot of times people will do this and you know if you have aq on let's say i have my quantize value set to quarter notes and i go all right so let's say now i wanted to just come over here so now even though i didn't play quarter notes it will just kind of come over here and quantize everything to quarter [Music] notes and i'll even just kind of show that quickly on maybe a piano part so say for here [Music] and i'm just recording [Music] so say i have something like that and now that's gonna record just as i played it so we'll have eighth notes followed by some quarter notes and some triplets thrown in but if i had that same thing set to auto quantize and my auto quantize is set to quarter notes let's say i just do [Music] so now everything will that i played in will kind of be choppy instead of going now my quarter notes i played in will be okay so make sure that you don't have this little auto quantize turned on and that could make what your midi recordings are sound very choppy unintentionally all right wonderful to see michael teams on the live stream and i think everyone's going to start getting their free ice cream now their virtual friday afternoon ice cream from michael with very creative flavors okay uh so we see question hi uh how to edit all midi track in piano roll if many uh record in midi track uh i mean make it to group so let's say if i just wanted to go to kind of a larger midi sequence let me just find the right project here okay here we go okay so you know if you have multiple parts um [Music] you know we could i could just do i could select all of the midi parts here so let's say i just want to take that and as i play if i wanted to view all of my parts here and if i wanted to colorize it by the part [Music] then you could highlight just different parts here if you want to solo just one so you could just simply select all the parts if you wanted these to all be grouped together you could hit con control or command g and then there will all be grouped so as soon as you edit one as soon as you hit one all the parts will be selected together you see that schubert was a pretty good orchestrator and it's fascinating a lot of people call this the 21st century score view for composers uh but we see how clearly and cleanly the parts are visually kind of gives you a really good indication um so and just how well orchestrated you could do if you're fran schubert uh make it sound so beautiful so i think that will kind of do the trick for you and then if you wanted to ungroup those hit control g or control command u and that will ungroup all right we have daryl from oakland joining us great to see you on the zoo meetup uh so we see a question uh what does wavelab cast do i have wavelab uh i see e i assume it's le10 so wavelab cast is going to be kind of an easy it's kind of uh like it's kind of intended to be an audio tool for people who need to do like podcasts and that type of applications but who maybe aren't a professional audio engineer so it's going to have very quick easy compression eq tools audio restoration and then you could publish directly for you know different podcast delivery systems so it's kind of a almost a purpose-built version of wave lab for you know creating podcasts so it's been very popular with um in you know during the covid pandemic so that's kind of the intention of it so all right so we see those the word chops that jan wanted to see so it's good glad i could figure it out all right uh so my name is uh simplice mobigong uh mubanong uh if cameroon i want you to please explain how to change tempo in music okay so let's say if i have just a midi file here so here we have just a number of tempo changes so let's say we're going to start off at around 42. so let's say if i have midi so this could be a little different uh for midi versus audio but we'll show so let's say i'm starting off here so if i have midi information let's say uh i'll start off at 38 beats per minute so if i have my tempo track here and you could also just come directly to uh you know your tempo track editor i think maybe under transport um but if you just hit but you know so if we have our tempo track here and you could go to the tempo track editor and other versions where you could just kind of see it look like this and then really all you have to do for midi information is just kind of come over here and as you're playing to say okay i want to be faster starting here or if you wanted to ramp up to get faster you could click here all right at this point i want it slower and you wanted to do an enchando so now the tempo is going to just speed up so that's how you can do it now if you're doing this with both midi and audio you may have to have like the original tempo embedded in the audio files and as audio is recorded it will be tempo stamped in cubase and then what you need to do is just to place all the different tracks into musical mode so if i want to take this as audio i can now just go to my tempo once the tracks are placed into musical mode and i could just type in a new tempo [Music] or do tempo changes and it would respond and follow those tempo changes all right great to see jeff sabelski from chico california in the live stream all right okay uh so we just see could you maybe explain how to work with chords and the chord channel uh also the send to a midi would be interesting so let's go take a look at the chord track i think i have a project in memory here let's just see if i can find it okay all right so a lot of times when people are coming up with the initial idea for a particular song um you know at this point it's a good time to you know come you know coming up with chords could be you know just getting that right progression so right now i have like howie and sonic se which is kind of a rhodes patch loaded up and now i could come over here to the chord track and i could say okay i just wanted to try out some different chord progressions so i could have this so you know where this is set you know to monitor through hanging sonic so if i just want to try out different chords i can say okay i'm going to try and f going to b flat and then i want to end on a c chord but let's say i don't know what the third chord should be so if i double click here we can go to the chord assistant and here we could actually kind of just look at you know chords before and chords after and it could suggest chords based on different levels of complexity [Music] or if i just want it to come so let's say okay i want simpler chord progressions or maybe even something [Music] and we could base this on cadence or common chord notes but you could also say based on musical proximity if you want to try out different chord progressions [Music] and say okay maybe i want to do something based on circle of fifths so let's say okay let's try go back to like our normal court assistant and we could just go from the list and say okay let's try g minor [Music] you know or you could say like i just want to come here and try out different chord ideas so say okay [Music] and if you want to try different you know it's like i want a g in a base here [Music] and try out kind of different chord progressions now if i wanted to drag these chords to a midi track i could just drag it down it will make those events for us automatically laid out for us here so and if i wanted to do this like for a whole piece of music i could you know just come right over here [Music] and i could tell different tracks to follow the chords just by going to this chords so maybe percussion i don't want to [Music] so say i just want to come here [Music] that's a good place where chord change let's say okay i want this to be d [Music] so like i said this is kind of roughly where i want chord changes to be and i could just [Music] [Music] i'll say right here i just want to do go to an e chord as i change the chord it will just kind of retroactively [Music] so that's how you can kind of have it play through midi stuff and just try out new chord progressions across you know your entire project if you wanted to with midi all right just reading through okay so i just see hi is there a time clock in cubase 11 pro so you know if it's not necessarily like a clock that ticks to like measure the amount of time on a particular project uh but if you wanted to go to if you want to see like the absolute time you could go to your studio menu i think it's under more options and you'll see time display so here you could just kind of right click so if you want to see it in seconds or you could right click see it in samples for different simply frame rates bars and beads we're going to see only the beat so we're going to give that someone as a visual cue while they're recording [Music] but not like a like a clock that will measure the amount of time that a project is open all right wonderful to see soren from uh sweden on the live stream thanks for joining us it looks like mandy lane's also in the live stream all right so you just see uh greg knows everything including the four-letter word for woodwind instrument in a crossword puzzle let's see sack but no could be oboe all right uh all right so we see michael pierce's received free ice cream from michael teams all right um all right so we have a question uh hey greg in midi virtual instruments i like to set colored notes as pitch but i have to select it each time i create a new project or new track how to set it by default in cubase artist 11 so i don't think that it could be set by default but if you do start from a template i believe that it will be preserved but i'll just check here so let's just come okay so let's say if i have this set so i don't think it's a default behavior that can be set but it might be able to be saved but we'll just go ahead and test so now as we because sometimes this may be set so let me try saving this as a template okay so activate our new template and now when we come in here um so the color scheme is preserved as pitch but let me see if i erase the event and save it as a template if it's saved in the event itself yeah so it is preserved within the template so if you start um perhaps from a template as you're starting off uh that might be a book that could uh that will be preserved within your template so may not be the most practical thing but you can preserve it within the template so even if you have just kind of different midi tracks that aren't assigned so okay so we have a question uh how to edit a classical electric guitar recorded direct and on microphone on two tracks so that when i switch lanes or size uh that happens on the other so let me just see if i have a track that might work for this lovely okay all right so i'll just go ahead and duplicate this let me just do a stereo reverse on this here okay so let's say all right so um okay so all right so recorded direct on a microphone so when i switch lanes or cut or size it happens on the other all right so i don't think it's may happen with switch lanes but a lot of times what you could do for a lot of editing is just to come over here so let's say if i assign these to a folder track so i'll just say move selected tracks to folder track that now you can edit you know the folder track here and those edits are automatically applied to both parts so that way and you could also just kind of come over here and you know if i just group just control or command g that these two will always be linked i know that it won't do stuff like audio warping together hopefully we'll see that coming in the future it's been a long-standing feature request but try grouping or putting it into a folder and i think that could get you a long way there all right so we see uh from jeff sabelsky uh wanted to use morphing on the mr816 csx so he set it to external setting uh lost sound and all other sources such as browser like for youtube the wdm setting on the output needs to be reset to one and two i think there's a part two of this um yeah so with the mr816 some of the times you some of the other audio interfaces you get the native version of the plugin um but when you're doing that it might affect you know i'm trying to remember having set mine up to change it in a long time jeff but it might also affect the uh the number of digital i o the digital i o configurations so um so i know like the later ones you also have kind of a software version to kind of make that a little easier but i think that maybe when you do that it might affect and i i will just have to boot mine up and try adjusting it if you want to email me but it may affect uh you know the i o routings on the mr816 just to make the dsp work but uh please feel free to email me at uh clubcubase at steinberg.de okay uh so we have a question hi greg please show again create midi from a kick track for drum replacement also having problems with midi lining up at playback tried moving contents with snap off uh cubase 11 win10 all right so let's go ahead and jump to this project it's kind of set up for it okay so let's say if i'm here i have um so let's say i want to take my drums and i want to take the kick and send it to uh instance of groove agent here so i want to use that kick so as we're playing along so i'm gonna do let me just put this back to the original tempo real quick so i'm gonna double click on my audio event i go to the hit point editor we will say find our hit points and we want to basically find it so that it's the kick and not like the snare or hi-hat or toms are bleeding through so i'm going to have this track selected and i'll just double click on the event and we'll say create midi notes from the hit points editor so say create midi notes and i want to put it onto the first selected midi track where i have the track with groove agent sc selected i want to retain the dynamic velocity and let's put it to c1 and now it's gonna make the midi track for us and it's automatically just triggering the kick so if i mute the kicks and if i wanted this kick to be and now if i just wanted to come over here and even adjust the pitch and layer that in with the original three drum mics so once again just come over here go to the sample editor to hit points adjust the threshold so that's just catching the kicks and have a track selected and click on create midi notes and you'll be all set all right so you see a question about the tonal balance um so lets you overcome our listening environment and get a balanced mix that translates to our audience um so a lot of those things i haven't found to really be that effective you know but there isn't anything specifically in cubase for that uh but you know i think it's always best to use your ears as opposed to [Music] you know an automated ai algorithm for stuff like that so but there's no kind of direct equivalent inside a cubase for that other than kind of using your ears okay so i see it was cubase elements trial for mac os 10.12 um so let me just see which so i think 1012 might be too old of an operating system for the current cubase elements trial uh there's a lot of things that apple will do to kind of make sure that you know as we're moving forward with new operating systems at older operating systems so i think you need uh mojave or later so so you could check with apple see if you could get a later operating system on your computer alright just find my place in the all right we see jazzy helping someone out with some licensing trying to get all the information so uh so we see from john koskinen just a follow-up question uh so uh hi greg started to be confusing i was trying to ask about labeling audio tracks in the mixer directly from the individual patches and haley and sonic or drum names and groove agent se so i don't think it will uh automatically do that so if you have you know like your different let's say if we have different outputs here activated in um let's say if i just come here let me go to the main and let's just say if i just come here as i say if i want to take you know different outputs that these if you're in halley and sonic uh if you're on a beat agent kit that when you come here that um all right so it looks like you know that is carrying over so say if i go to hi-hat closed and i set this to its own output here so let's say output four so then that's carrying over and when we go to the mix console we could see like our kick snare to and high hat close so just as soon as that pad is assigned to the output it looks like it carries the name over so just re-read the question one more time so and let's say if i do this with howie and sonic sc okay so we have high and sonic se here and let's say if i put these into their own outputs in the mixer if the name is carried over so it looks like it is not carried over in howie and sonic sc but maybe in groove agent all right just reading through comments so all right uh so hi greg can you show ways to re-sample inside of cubase for instance i want to record audio from a track as i change parameters live okay so let me just jump back to all right so we could kind of create um different buses internally so let's say if i had like the kind of the r b kit here and i want it to have [Music] on the kit itself let's go to my inserts and i'll put in some loot mash effects on it okay so what i want to do now is to take this i'm going to take this particular track and i'm going to add a group channel to the selected track and now what i want to do is add an audio track and i want to set its input from the group track that i just created okay so i'm going to just come right over here i'll play so let's say i'm going to play back my urban ballots kit here so say and i'll just go ahead and hit record here so now i'm recording the audio but let's say i just wanted to come over here and switch to a different kit [Music] and now i want to do [Music] so now everything that i'm doing here live so let's say okay now i get to the instrument itself and i want to take this kick and go to the pitch and now all that will just be recorded directly so create a you know take the track add a group track to that selected track add an audio track and set its input from the group track and then just whatever you however you tweak that particular instrument or whatever tracks if you wanna do it to multiple instruments as long as they're all feeding into that group they can all be recorded directly into an audio track and resampled that way quite easily all right so just see from uh gunner 3334 says about the control room preset question thanks for referencing your earlier question uh use the pc with the ur 44 maybe i should reinstall drivers also you know in your can it's easy sometimes in the audio connections to have inputs being used multiple times in outputs and that could sometimes cause some confusion as well so but reinstalling can't hurt all right uh can you show the process of changing the sample rate of an audio clip when you uh command right click uh command right click sample i went to down sample and audio clip to get a similar effect as a low pass filter you know something that you may want to do is instead of like you know because you have if you're just kind of looking for like you know that particular effect is let's say if i just have um let's say i'll just take so you know there's different plugins that can do this for you you know because so i think if you come over here um you know even if you wanted to go to maybe it's under distortion but big crusher if you wanted to do this you know so if you wanted to just switch to different kind of you know bit reductions for lo-fi sounds you could do that and i think also if you wanted to get into um say under distortion also the quadruphase ii [Music] that you could also just kind of get into you know more multi-band stuff here so if you wanted to be able to set you know more kind of bit reduction there but you know so generally a lot of times if you wanted to you know cubase is going to kind of work with one particular sample rate um so you know if you down sample it and then put it back in um you know at that point you know it's just going to comply to the sample rate that's the project is set to so you know check out like you know bit crusher you could probably kind of go for the same sound without having to actually change the sample rate which will be kind of much easier for you to work with all right so i just see uh can you show me how to replace audio in a track with audio from another track when i do it it seems to move okay but then when i play the track the original audio plays not the replacement audio so generally kind of what i do in these situations let me jump here to project all right so let's say if i wanted to take this and you know like if i wanted to replace the kick you know what i will do is just kind of come over here to media bay and say okay i wanted to come here and find kick drums and then if i hold down the shift key and drag it over let me just find like a single hit all right so say i want to kick drum and i want a big beat so i would just kind of come over here and select the one particular file and hold down the shift key and then replace so i just say all but if i have like this as an audio track you know doing that wouldn't necessarily prevent the other track from playing but if i just kind of again let me just try dragging over from the project window so i would maybe not do it from the project window but just do it from media bay and just kind of hold it over and then if while holding down shift you can say okay replace all of the kicks with this so just come right over here replace all so maybe if you just kind of do it sorry grab the right key this time that would be helpful [Music] so but you know dragging it over i think from another track may not kind of work the same way so let me know if i'm misunderstanding now all right uh so we see from michael teams uh howdy greg can you please explain how to get the mixer colors to match the track sorry senior month or moment uh yeah that's it uh laughing out loud all right so uh if you come to the preferences so once i let's say i have my mixer colors here that match my project colors so if i wanted to just kind of go to preferences uh you could turn this on this came in 10.5 i believe that we wanted to go to uh track and mix console channels so here we could just have mix console channel colors turned on or off so once that's unchecked it'll be kind of default to stately dark gray and now they can match the actual events all right and if uh if you learned something new make sure that you do hit the like button i'm about it's about 2 38 now so i'm in about an hour i'm about 55 minutes into my questions uh so i'm about 43 minutes behind i'll try to catch up but as jazzy had mentioned and michael teams that you should hit the like button if you learned something nice see a great comment from jessa belsky about schubert how you playing in the bars of today and wrote hundreds of songs for voices yeah is one of my favorite composers the little piece i play is a fifth symphony second movement okay so we see uh how to keep control room disabled and only enable it when i want it uh also because i can't deal with the media bay while control room is on since i have no needed outputs for that purpose um so if you wanted to do it you could just you know come right over here to the audio connections and if you didn't want the control room on you could just here's the on off button for the control room so you could disable it or just come right over here and enable it so just go to your audio connections and then you could just turn it on and off right there if you needed to all right uh [Music] so i just see is there any shortcut macro i can create to set master volume to 0db so i can bind it to a midi button on my hardware mackie control compatible so i know that generally resetting you know if i'm here and if i hold down the command or control key and click on the fader that that will take you back to zero db so maybe if you have a user-definable function that could trigger the control but let's see if there's a reset fader values maybe a particular keyboard shortcut or reset channel you so it might be the reset to default let's give that a try nope doesn't look like that does it but maybe if you just have the modifier key just set to uh control and then tap the fader maybe the mackie controls control surface would put it to its default value just the modifier key and you see i know the control click thing but i just can't assign it to a midi macro all right all right so i just see please explain how did you get your daw sound to this live stream so i use kind of uh two different audio interfaces so i just so i could talk and not worry about setting up uh and switching when i switch projects and uh so i use a ur24c for my audio interface um for uh you know for cubase here so i use my steinberg ur24c and i have a yamaha mixer uh i think it's an mw12 cx and that is a usb mixer so i connect the audio outputs of my computer into that mixer i connect my microphone into that mixer so i can hit a mute button if i need to cough or talk to my son so and then so when i go to obs which is what i use to broadcast here and i go to my audio um i just have this set up to go out of my yamaha usb port so and that's how i get my audio for the live streams i found it to be pretty reliable because i do lots of zoom and microsoft teams and youtube presentations throughout the week all right so we have thomas young checking in from uh eden north carolina so i just see is that schubert i thought sibelius uh so yeah it was schubert's fifth second movement um i love sibelius second symphony it's one of my favorite pieces as well all right so we see is there a way to use uh the logic editor to randomize the value of midi cc or track automation so i don't think we can do randomizing of automation but let's go take a look at some midi ccs all right so let's say if i just wanted to draw in some modulation here so let's say let's get to our logical editor so we'll say we're going to transform type is we want to say is going to be equal to controller and we want to have [Music] value 1 the controller is going to be equal to modulation so let's say 1 and i want to say value 2 of the controller message we want to set to random values between let's say 40 and 100 so now you could just come right over there and you could randomize the modulation um so you could do that with a lot of different things let's say if we were doing this with automation we could do some stuff with the project logical editor but i don't think it's randomizing of automation uh but let's give it a shot so kind of a different i'll select this i want to take my project logical editor so we're going to transform media type is equal to automation and let's see if we will try length i don't think this may do anything so but we'll give it a shot i know we could kind of do trimming on it so a lot of times let's try position so there we could kind of set to random values position wise we could also come over here and a lot of times when we do this we could just set to trim and you could say like multiply by you know 0.6 and now as i wanted to just come over here we could choose to or you know multiply by 1.364 so every time we come here we could just um sorry let me just get the value right so we could do some work with automation so say i wanted to multiply that uh by particular ratios and multiply and divide with using the trim functionality all right so i just see from musitron why is vst plugins picture to media rack pixelated in browser so i'm not sure if it's like if i come over here to let's say an instrument track all right so let's say if i wanted to do my picture of it okay so once i come here um now when we go to my instrument rack so let's say i go to the modes here um and let's say we go to our vst instruments i would see those particular settings i just created in backbone so i don't think this is really intended to be like a high-res graphics image it's really kind of more of a thumbnail view so you know if you wanted to you know uh have a higher res image you know you could do a print screen command on pc or if you just hit like i think it's alt control shift 4 on mac or just command shift 4 [Music] so if you do that now you could just kind of take a high resolution picture but uh that's stored on your desktop uh but you know the intention is that it's gonna be this big so it may not be like a really high resolution picture you know because that's kind of the intention is for it to be kind of at this scale to work with okay so we have uh chanel from sri lanka thanks for joining you and it's really early really late there thanks for joining welcome to the live stream okay so we see uh is the morphing channel feature kind of like squasher how are they different um so i would say that they're kind of different the morphing channel strip when we look at it here so i'll just come under here so say okay we'll have our morphing i think i have it on here okay so say our morphing channel strip okay and this is kind of an updated gui image that yamaha has provided and then we'll go ahead and look at squasher so first thing is squasher is going to be more of a multi-band uh pro a multi-band solution and it's an up-down compressor the concept of the morphing compressor and the morphing channel strip is where we could just kind of have you know there's a lot of times we see people that just kind of have problems um you know utilizing kind of like a typical channel strip so let's say you come here and maybe you know you start off with you know you're different you know you want kind of a soft compression and okay i want that compression and i have this set up in the eq so what the morphing does is kind of optimize different preset combinations of the eq and dynamics and kind of morph between different settings as you're working with it so you can kind of find a sweet spot instead of like dialing in like you know 13 different parameters you kind of could listen to it and say oh right here is good or you know like i really like this for like bass like in the middle a nice little smiley face eq whereas this is going to be more intended where i could compress you know uh the up and the down and split the different frequency ranges and if i wanted to sidechain each band i could do that in squasher so kind of different beasts uh different purposes so the morphing channel strip is really kind of set up where even the novice could kind of get the understanding of the controls and come up with something very quick is really kind of the intention of it all right so i just see is it possible to convert um i'm just fine sorry my okay so we have a question uh is it possible to convert a mono track to a stereo or stereo track to mono whatever it is a track type audio effects so you know when you're dealing with effects you know you could you know very easily just have you know when you add an effects channel track you know you choose whether you want it to be mono or stereo as the effects channel is added so let me just revert this project quickly and we'll show how to break up your mono and stereo files all right so let's say i have you know a stereo file here i would just go to project and we'll see convert tracks and we'll say multi-channel to mono and as we do that we can just see our stereo track that's automatically been split to two monos conversely if i select these two tracks i would do the same function but just the opposite so i'd say convert tracks and mono to multi-channel uh we could cap that as stereo and then we could have our stereo track uh rendered back very easily just like that all right so we have a question uh from mike from new york uh cubase 11 on mac m1 question uh i would like to know if there's a way to warp multi-track or several tracks at once while using one track as the master track so currently not you'd have to kind of do it one at a time i know it's a very popular feature request i know that the development team is you know looking into it and so maybe we'll see some relief in the future for that particular feature so sorry can't do it currently at the moment all right just reading through comments thanks for all the great discussion and if you've learned something new make sure that you actually hit the like button and if you haven't subscribed to the channels make sure you do that okay reading through comments sorry okay that's a great discussion still reading through all right we see sable winters wants people to hit the thumbs up button the like button all right we see jvi in the live stream thanks for joining you don't have to apologize for being late all right it's probably late in europe all right so we see a question uh what is the real purpose of the control room do i need it in my home studio so i think it makes a lot of sense to use a control room for uh different purposes so i get this question a lot like um okay so i have um you know let's say i have the control room how do i you know you know why do i need it if i'm working at a home um so a couple things that it allows you to do so we'll just come over here to this track all right so say so a lot of people we find that when they're mixing would take their you know they go to powered speakers very common and what they do for their monitoring volume is they have maybe the you know instead of reaching to the back of their speakers and adjusting their volume they would come here and adjust the master fader and they would use this as their monitoring volume but as you can see as i adjust my uh fader down here let me switch my um let's just switch my metering preference here so as i adjust my fader volume here down what this is actually doing is adjusting the gain structure of the mix so we would often get this like you know oh my you know when i exported my mix it sounds really wimpy compared to what it does in the control room and we're like where's your master fader at like oh yeah minus 23 db and what it's doing is it's dropping 23 db of gain from your particular mixed structure here whereas if we use the control room this is solely a monitoring volume and doesn't affect the gain structure of the mix so some other things that it's going to be helpful for is as we're doing this we could set a known monitoring level so if i wanted to dim to listen to something like really soft quickly i could have my dim control i could also have a known reference point so a lot of times after a while you may find yourself turning up the monitors and getting louder and louder and once you start doing that you kind of lost the battle so you may want to have a known like loudest reference point and set that as a known entity [Music] now another thing that's nice is let's say if i wanted to come over here and solo a track all the air tracks will get dimmed down but if i hit l i could have these tracks actually just dimmed and still listen to it in context so we had this l button it's a listen mode so if i say okay i just want to come here and find my base i'll just say okay let's just come over here instead of soloing everything i hit the right button this time if i want to hear that in context more we could just set that listen dim level now let's say if i have uh [Music] so let's say i have my reverb going through my snare so if i solo my reverb it's going to solo the snare as the source track as well as the reverb return channel but if i only wanted to hear the reverb i could just click on you know this way you could just hear what's going into the reverb so i could just say now we also have different down mix presets so if i want to listen to this in mono [Music] also if i wanted to have different uh controls here i could have plug-ins like if i'm doing maybe like a room correction type of process um and maybe when i'm mixing i want to hear the room correction process but when i export my mix i don't want to deficiencies in my room to be applied to the file so we could have plug-ins are just going to be set up for the actual master bus here so i could say okay i just wanted to come over here and i just want to go to my control room view so i can see exactly what's going on and what i'm actually hearing and if i have multiple sets of speakers i could actually just switch between different monitors as well so if you have like stereo like older stereo or 5 1 set up you could just come right over here and have access to be able to switch your monitors and again you're just using the available inputs and outputs and when you get more into it you can say okay i want it to have other input sources i wanted to have headphone mixes so if you don't do that at home studio there's still plenty of great use of the control room for you and just you know for if you have one set of speakers it gives you a lot of advantages all right okay so we have a question um how can i have my own sample bank like a favorite folder in media so you know once you come over here you know if you have everything kind of set up in a folder uh you know there's a couple ways you could do it so you know if you have let's say you go to your different loops here you know you could actually have like different uh assignments and ratings so let's see if we come over here so let's say okay i wanted this to be five stars so you know you could choose to only find stuff that is you know like five stars so like let's say even if you're in your media bay here okay you know i have these presets as five stars and then when you go to ratings you can say you know oh fine only five star sounds so you could do stuff like that so i would just want to come here to my vst sound and i could find everything that i've liked that has five sounds just based on ratings or everything by default will have three stars but you could just set you know you know as you go through sound say i really want only my five star sounds and you could just you know find everything based on your own user ratings you know if you have particular folders that you have everything saved to that's a quick way across multiple folders if you wanted to go to the file browser and set particular folders you could just right click and add it to favorites and then when you're right here you could just go to all of your favorites folders as well all right so you see jvi just picked up uh some yamaha uh subwoofer and dvd players for 10 euros goodbye um all right so i see from paul's as i was talking about recorded audio not midi generated audio i.e vocal takes recorded on different tracks rather than in lanes um so paul maybe if you could i know we'll probably you know have time to get to it but if you could just refresh my memory on the question that be great i'd be happy to get to it today make sure i get your question answered for you sorry for the confusion on my end okay so we see a question uh hi can i use alpha with any automation in audio track so yeah there's a way of doing this with any automatable parameter so let me see if i can remember how to get this going uh i destroyed my little routing setup that i had so let's say if i wanted to come here and i have lfos going on uh like different instruments here so let's say if i open up my auto alpha [Music] so we could have like so if i wanted to look at the lfo on this we could see the cut off just kind of creating that wobble effect all right but if we have and that's fine if you can just uh if you right-click and you can assign parameters to lfos but when i want to assign a particular parameter uh so you could create a you can install a loopback device and on mac you could do this through uh iac and there's different loopback uh on that you could set up for uh on windows platform so let's say i wanted to control this particular parameter on i have this as an insert on my drums so i want it to come let's say to my audio inserts i have this dual filter and i wanted to control the position of this filter on the drums so that if we just have this so i wanted to kind of create that sound all right so if i do this and i have a good chance of messing this up we do this kind of through the generic remote i know this is like really could be a bit convoluted uh but i'll say let's set this up with the iac bus driver okay and what i want to do now is i'm going to just click on learn here and i want to go to the track itself to like the midi track and what i want to do here i'll just go over to my auto lfo parameter as the midi insert here so i'm going to set this track as my midi insert so let's just say we'll have this go on controller 10. so open up my generic remote and what we want to do is to have controller 10 and we want to go to um [Music] let's say our glitch drums and i want this to go to inserts dual filter and position all right so now what i want to do is i'm just going to click on learn so i'm going to play me just play this all right now i'm going to just click on learn so that captured that so now we see this parameter moving and it's just completely automated so if i wanted this to be so we're just kind of sending midi out here through this midi track to an audio tracker to an audio source into the generic remote do a learn set up the plug-in parameter any of the plug-in parameters are available and now i guess i want this to just go to you know whole notes and what rhythmic value you want so now if we just wanted to mute so now the auto alpha is just controlling so that's how you can get it to i know it's kind of a goofy work around but you can get it to work so uh hi greg do you think germany will win the world cup in 2022 so i don't really follow it until the world cup starts um being an american i realized that you know for our own nationalistic tendencies we can tend to be disappointed uh at least in our men's team for world cup performances so but uh i think germany usually has a pretty good shot but i i enjoy watching the world cup so i played soccer since i was in second grade i was kind of one of the first kids an early american soccer player so i always enjoyed watching soccer but i haven't followed the teams all right so we see can you please help me i can't get automation to draw to grid okay so let's say um i just wanted to create an audio track here all right so sometimes it may not draw to the grid so let's say we'll make sure that we have our snap turned on and let's set my grid to a whole note so now as i come over here let me just get rid of that and open up automation lane so i think a lot of times it's going to just uh once the automation is there that now when you edit it it'll edit it to the grid so the grid is not necessarily for drawing in automation but it's really intended for okay i want this automation point to be you know on the grid so it may not draw to the grid but as you do edit uh it would automatically only allow you to snap to the grid so let me know if that works for you make sense all right just kind of reading through questions so lots of great discussions okay so i see a question from uh peter if my session is 24 bit and an audio channel peaks but the master doesn't uh has the signal been clipped do i need to have 32-bit session for that so anytime that you're playing back audio and cubase uh and you make any adjustment you know so the cubase audio engine could be set to 32-bit or 64-bit floating point uh resolution so but if we play back a 24-bit file that's loaded in and we have it at zero db and we just play and if you looked at it like a bit meter for analysis you'll see that it'll just be a 24-bit file but as soon as you adjust it like you know 1 1000 of a db in volume you would you add eq you add a plug-in you adjust panning at that point it's run through the audio engine and then it's automatically a 32-bit floating point or 64-bit floating point so that's probably why you don't see uh clipping because it's you know the audio engine you know is processing it in 32 or 64-bit floating point you know for your 24-bit fixed point or if you have like something like a urc or an axr your 32-bit uh integer audio file so all right just reading through okay so uh you see paul's uh clarification to thank you for that paul uh it says moving audio events recorded not midi generated uh from one track to another to replace the piece of vocal from track x to track y and overwrite that piece okay so i think i understand what you want to do so let me just do a new project here quickly thanks for the clarification all right so let's say if i just want to remember in the air okay so let's say i have um just make sure i have this set up correctly for paul moving audio events recorded not midi generated uh from one track in order to replace piece of a vocal from track x and track y so let's say if i just wanted to replace that so as soon as we go over top of it now one setting that you may want to set up if you go to editing under preferences you could have delete overlaps so maybe this is what you're looking for paul where you could just say now when i drag it over uh the original file will just be gone um so if i undo that you know so if i just wanted to take even just this portion of the file and i drag it over that uh what that'll do is you know if we open up our lanes we can see that it's not going to make lanes but it'll just automatically replace that so see if you know if you drag it over and then if you didn't want the underlying material there again that's under preferences and you could just enable delete overlaps right there so if that is unchecked and i did that we could now see that these would show up as lanes so you know that you could have like the original material and the lane over top of it so see if that's what you want to do palm okay so we just say someone wants to automate cutoff filter this is uh some more discussion from uh anthem's jam all right so let me just come over here to this okay so let's say if i just want to come here [Music] all right so let's say i want to automate that particular parameter i could just come right over here so now if i take that automation and let's say i wanted this point to you know snap to the grid i could just say okay i want this to snap right to that particular point so it doesn't kind of truncate or quantize the audio but once the audio is written in just simply adjust it and then if you have the grid turned on then you're able to just snap that directly to the particular point and you could also just say okay i just want to take this particular filter if you wanted to you know just come here let's grab the line tool so you could just have that point so you could just draw it in uh so let's try with the line tool here so if now i just wanted to draw in with say my pencil tool you do that but let's say now i just want to grab the line tool and have that snap you could just draw it in directly with the line tool but the pencil tool may be more freeform but try just coming right over here with the line tool and you could just say okay i want this to go from top to bottom and that's automatically snapping to the grid for you all right just reading through comments so all right so just see is there uh any way to check pre-fader level in cubase as you can in pro tools i mean the level which the audio signal is hitting the software mixer and or plug-ins so once you come here to the mix console just right click you can scroll down to the global meter settings and you'll see the meter position choose input and then that's where the audio file is hitting so just come right over here once again to right click on like the fader or the meter area go to meter settings and then you could just come right here and choose meter position to input as opposed to postpan or the other choice all right so i think i may be almost caught up so 3 28 p.m all right let's just check let's see all right so we see anthem's jam all right so he got it figured out so all right you could donate your 50 to a steinberg purchase all right you buy something at the 50 off sale all right so let's go ahead i'll see if there's any more questions coming in i know it's friday of a holiday weekend i know we had some questions emailed in but let's take a quick look see wow all right so anthem james wishing my family myself 1 000 years of happiness what else could i want in life thank you it's very generous all right so let's go to some of the questions mailed in and if you learn something new make sure you do hit the like button all right i got this question kind of sent in from my friend the wonderful fred corey wonderful drummer and composer and all around wonderful person all right uh how to randomize velocities on a piano part to make it sound more realistic okay so there's a couple ways we could do this all right i'll just revert this project here quickly okay so let's say we're listening to our piano here [Music] all right so let's say i have like all of these are kind of well played by the by the musician but let's say these are all just kind of set as one velocity level and we listen to it and you go okay me this isn't the most interesting piano part [Music] so velocities can make a huge difference in kind of editing of midi parts so but let's say if you come over here to the track itself you can go to midi modifiers and here you get you know there's a couple things you could do is you could say okay i want to you know shift the velocities we could also say i want to do you know random randomize the velocity and let's say the minimum and maximum value so let's say i want this to be 80. and let's say 110. [Music] so let's say i'm sorry 80. [Music] so you could have you know like the velocity range there and if you wanted to see what that looks like i think if we do freeze midi modifiers let's see if i did that correct um let me just undo that so you know here we could choose you know to randomize another way of doing this is just kind of come right over here and just select you know let's say if we start off with our velocity range here um i'm just going to select all the notes and then we could actually just kind of scale the velocity but if we come to the right edge we can make it more compressed or more expanded just by going to the right center edge so if i wanted to kind of compress the velocity to make it you know or kind of make the contrast between the highs and lows a little more pronounced we could do that now if we want to approach it from the logical editor we can come over here and say okay we're going to say type is equal to note so we want to choose to transform and then what we want to do is to say value two which is the velocity message of a node so you know different midi messages will have different value ones value twos so what you want to do is just to have value two is the note or you know of a note message value one is the pitch value two is going to be velocity and now i could just say let's set to random values between 80 [Music] and 100. so at this point i could come right over there and we could just set it to particular values and say okay let's set it to 70 and 120. so now as i just come over here we could just kind of randomize between those particular values let's say 57 and 120. so that's one way but if you wanted to just kind of make the part more dynamic you know try just to select all of the notes come right over here and go to the right edge and here i could make it more the same or more contrast between those two events and if you wanted to do like a crescendo or a day crescendo but still keep the velocity curve the natural velocity differences you could also tilt the velocities like so all right uh so we had a question um so uh should i turn on azio guard or better to work without it can you explain please okay so what the asio guard allows us to do and we could set this uh generally when we go to the audio system we could see you know activate as you guard and what azioguard allows you to do is realize that like when we have our buffer settings let's say if i select my audio interface here and i'm at 256. um that this will give me you know seven milliseconds of latency on my operating system here so i have you know seven seven milliseconds now the whole when we're doing this and we can think of the lower the buffer the harder the computer has to work you know if we were to think about this like envision like workers working on a conveyor belt having to pack items coming off a conveyor belt into a box so you know if we had you know a lower buffer size we had to put let's say uh if we're at 32 we'd have to take 32 widgets coming off a conveyor belt and put those into a single box and get in our box take those 32 put them into the box now if we have 64 buffer size you know if we fall a little behind we can catch up and that's so we have 64 bits of information going into the box so as you raise up you kind of give yourself more of a buffer more room to work with now the problem is as you raise the late as you raise the buffer the latency goes up so while recording you may go okay you know i only need the latency low on the track that i'm actually recording so wouldn't it be cool if we could say i want this particular track to run at a lower latency the one that i have record enabled and the other tracks run as if they're running at a higher latency and that's what the asio guard allows you to do so it allows the track that's being monitored or recorded on to be running at lower latencies while tracks that have data on them a lot of big instruments and effects can run at higher latencies so i think it's an interval of like four to one so if you're running at 256 the other tracks may run at 1024 or if you're running you know so so it makes sense to have it on you know if you're doing you know if you're recording kind of one track at a time and you're doing you know 30 tracks of audio it may not be as critical but if you're trying to you know oh i have 400 tracks of a big orchestral soundtrack type of project and then you know i need to record a critical vocal and the latency is throwing someone off um at that point azio guard can help so that's really the intention it's almost kind of like a dual buffer system so that the tracks that are record enabled that you're playing on can run at lower latencies and the other tracks run as if they're running at a higher latency okay so we had a question mailed in uh i'm curious if you can cover vca tracks and the lack of having mute controls for them it seems to me that you're better off using group tracks buses instead of eca's because you have this key functionality of mutant solo as well as level control and more okay so let's take a look um i think i have a vca project um that we could show here okay so let's say i have in my mix console i have a lot of tracks with kind of existing automation so let's say i only take all my drum tracks here so what i want to do now so in my automation let's say is going kind of in contrary motion where one track is going down the other tracks are going up so i'm gonna select all my drum tracks and then i'm going to right click and let's add a vca to the selected channels all right so the first thing you notice is that the vca does have a solo and a mute right on a vca track so you may not see it uh yeah even here in the project window you can solo and mute so i've gotten this question a couple times like you know you can't mute vcas or solo vcas you could definitely do that so let's say i have a large reverb let's see if i have so say i want to go to my snare here and on my snare tracks i wanted to just add a lot of reverb all right let me just add some really obvious reverb here [Music] all right so now when i come over here and i see all of my automation going on and let's say i just solo the vca all right and let's say i spent a lot of time getting that snare and a reverb just perfectly as i would see it there okay now as i bring a vca down that relationship between if we listen to the reverb on the snare that is not affected by the volume change here now as i bring my vca down we see our automation going on so if i wanted to keep the existing automation that's going on in the drums but still bring the drums down i could just now come right over here bring down and while my vca is going down other tracks are still kind of going up so they could go in contrary motion now if i automate the vca i could come right over here let's say okay now i automate the vca sound it's going down my tracks are going up as i bring my vca up the air tracks can still their automation can still go in contrary motion but we notice that the levels of we're not affecting the gain structure of the sends which is critical so i still have that that same relationship between the reverb and the snare regardless of the volume so it's not affecting the gain structure going to descend so now that i've automated all this i could say okay you know we're gonna come here we see our vca automation when i go to open up a track automation track we can see that we have two lines so we have the original automation going on of the particular track and we see the result of the vca the changes of the vca now if i wanted to actually kind of coalesce those two um i would just go to the vca here and i say combine the automation of the vca and the linked channels and now we see the result of the vca on the particular channels but again the vca doesn't sum so i'm not going to be able to apply an eq or compression on a vca but it allows you when you're dealing with a lot of automation you're dealing with a mix that has a lot of effects we can have all those not be affected and i could still maintain my automation directions but increase or decrease the sound i could have the automation coalesce to that or not so or but the critical thing is especially is if i put it into a group and i dropped a group down the level hitting the effects end would still you know would be altered as the volume drops so vcas can be soloed they can be muted uh so that's really kind of the intention of vcas and if you wanted to you could say you could have multiple vcas route it to a v6 so i could have vcas for my kick vcs for my snare my hi-hats my toms the overheads as independent vcas and route those to a master vca for the drums so so some easy so that's some of the intentions and design of the vca and it used to be that vcas were used in a lot of large format consoles before we had motorized faders so if you deal with like uh you know an early ssl g or an e you know you would automate the automation wasn't happening by a physical fader moving it was automated by a vca so this workflow is still really ingrained in a lot of audio engineers and there's you know particular workflows that are really designed around that for mixing and that's why the vca is our important distinction to have from groups now groups are ideal for i want to do parallel processing i want to just have one track for you know to sum all of my background vocals and put a compressor on it you know that's the perfect design intention for groups so but there's other mix scenarios where the vca uh works better and makes a lot more sense okay so another question we had uh another thing i'm looking at is trying to figure out why things like the sampler track or the scrub tool or playing back 12 db softer than the control room i often like them to be even but i'm unable to figure out what to set all right so let's say if i dropped a part into my sampler track so i'll come here let's drop it into um all right so let's say if i'm listening to this we'll switch over to our meters and i'll just solo the bass here all right so let's say now if i hit uh just the sample track here so i'll just all right so let's just check to see if maybe it's a preview um so sometimes you know the volume could be set differently here on this particular track uh and this isn't going through all the other compressions so i'll just go ahead and normalize um that particular track so but sometimes it could be you know let's say if i just let me just set the start right to that position [Music] all right and i'll make sure that our base track here is set to 0 db and let me just bypass any make sure it's not any inserts all right and let's get to the sampler track and let me just and it could be just like where you hit the you know the notes of when i hit it out of full velocity [Music] so let's say i'll just solo the bass track here [Music] so you know if you hit it with kind of softer velocity that maybe and when you click on it but if you hit it [Music] it seems like the same [Music] and i probably just you know but so i think you know if you just kind of click on it with the mouse it could be maybe that depending on your velocity level that you're hitting the midi keyboard with that could be setting it so make sure you have that set up all right uh so a question uh greg i asked in a previous hangout about safe mode program terminated dialogue i'm getting on startup but is there a process to effectively diagnose what particular what particularly is making it happen third-party plug-in or program etc basically how do i figure out what's causing it uh so i can correct it thanks so this is like when you start up and you may get like a little uh dialogue i'll just show it here quickly so if you notice when you start up that you get this safe mode dialogue um so a lot of times when you get something like this so if it sometimes you may notice that if you look at the top it may actually show you the plug-in that's causing this particular problem and why we kind of put this uh say this kind of diagnostic startup mode is a lot of times you know as people would close the program uh it would hang and there's a plug-in that's hanging sometimes it doesn't show you exactly what is causing it to hang sometimes it will show you what particular plug-in is causing it to hang so people would often sometimes get into scenarios where they couldn't start their cubase to turn a plug-in off and that was problematic so they're kind of in this loop where they couldn't get into their cubase because the plug-in was hanging them from launching cubase so that's why we kind of started that safe mode because you could bypass the program preferences like if if you wanted to try something out to see if something could fix that uh but also it's to bypass third party plug-ins gives you that option so that if a plug-in is hanging on starting like you know it's looking for a file and it's not finding it and it's not allowing your cubase to start that you could just bypass the particular third-party plugins so sometimes if you go into preferences i think under general you know you could uh enable usage logging and this could actually give you um you know give you an idea of exactly you know that could give you know steinberg an idea if you send that into the support of you know exactly what could be causing the issue so yeah make sure you have that turned on and that could generate a report of what was happening right before something misbehaved so sometimes you will see that the plugin will be listed and sometimes you just have to sometimes the plugins you know just crash and they don't give any kind of warning messages so that's why you know they allow you to kind of start up and then you could you know maybe take certain plug-ins out of a particular project and see which is the culprit and it's one of those things that it's really easy to dread for 20 minutes and it could take you you know eight minutes to do and kind of isolate it you know try loading up five plug-ins in a project at a time disable it save it see you know enable five more tracks and see if that is still behaving and just kind of you know work in groups of five or ten and you could probably find a culprit pretty quickly all right so we see um so question mailed in hey greg this is alexander i'm thinking about purchasing groove agent 5 as i understand it in cubase pro we have se version it's a light version as i can understand can you give me some of the main options uh why i need to go with the full version right now the full version with discount on steinberg web please help me to choose and if i purchase it can i remove the se version then just want to clean up my daw [Music] and then so so let's take a look at some of the things that will be in the full version of groove agent that aren't in perhaps the uh the se version the se version is you know incredibly capable but there's some great things inside of the full version of groove agent as well so let's see if we could show you some of those see if this is the project i was thinking of okay so you know one of the things that uh you'll see you know so you'll see that they all look kind of uh you know pretty similar overall so if you look at groove agents you know so a lot of people think that the first thing is like as you're playing um [Music] that you know oh you have four agents all right so when we come over here okay so we can we can have four different agents so groove agent essie will have um some of the main differences are you could have four agents at once now many times in contemporary music we're gonna have different levels uh you know like hybrid approaches to drum and percussion so you may have like an 808 kick um like an electronic kick with acoustic drums and percussion and maybe something else like sound design type functionality as well so when we you know this will allow us to kind of combine different agents together so when we go with this we could also have instead of just 16 patterns we have 128 patterns so some of the kits will come with more particular patterns as we work with this so let's say if i just want to come to my acoustic agent you know when i come here instead of just being limited to 16 here i could have you know more patterns i could have more fills to work with uh when we go to a different pattern bank i could have these endings [Music] intros [Music] so now let's say i want to bring in maybe uh you know a beat agent kit with this so i could come right over here and let's just have this play now i'll just take this volume down here a little bit all right so now i wanted to come over here and have [Music] so now i could come to my four different agents so and of course these will all be kind of synchronized together now let's say i'll come over here let's add a percussion agent so i could select my percussion agent so just like when we come over here we could say okay i wanted to have my instrument for uh when we go to edit my acoustic drums i could you know come over to my mpc style interface but groove agent also has just a full percussion agent as well so i can just come over here [Music] and now if i wanted to kind of tweak the patterns of the percussion agent you could say okay i wanted to add a different instrument so i wanted this to be a bongo from cha-cha-cha and i wanted to we'll just take listen to just a percussion agent so let's say i just want to bring in this one source and i want it to be very simple i wanted to be more complex uh and you could also have more intensity like dynamically i wanted this to be half time or double time and i wanted this to start on the offbeat of two and i wanted to add more swing so we could do this for each individual sound so i can say okay let's make our shaker and now when we come over to edit the instrument itself i could take each of these stores sources and say okay i wanted to add more room mic so i could select the source and i have so if i wanted to select this i could say okay let's tune it differently let's add more attack more decay [Music] and when i go to the mixer each of these different elements will be under and we go to the agent mixer i could bring each of these out and we could add their own effects so i could say okay let's just come over here to my aux sends and i wanted to add a reverb to it [Music] so i will go back to the agent itself and say okay on this i want it and now i wanted to bring in the acoustic agent and now let's say okay a beat agent and let's say you bring in another beat agent so just a couple of mouse clicks i want a little less reverb there and i get to the mixer and now i could say okay i just want to go to the agents themselves so i could say okay let's go to our different kits so okay let's bring this now as we go to our patterns we could also just come over here and we could choose for these patterns where if we go to our pattern overview that could switch and we could lock these all together so i could switch multiple patterns at once for all the different devices or i could have independent pattern controls for each of these so we could have these set up in a live scenario or these can all be broken apart separately as well [Music] we'll also have a full dedicated performance section so if we wanted to do like note repeat functionality we can have that kind of all set up and you know the beauty of this also is whatever tempo i'm at if i do 100 beats a minute or let's say 80 beats a minute it'll just automatically sink along you know if i want to try just a different kit here i could right click let's load up uh let's say i want to do something like marching drums [Music] on my fourth agent [Music] but i go to my mixer and now let's go to the kids and i wanted to bring that down in volume now if we wanted to actually go to the patterns [Music] you know here we could say okay i want to go to edit the particular patterns that you could select you know different patterns and be able to actually edit [Music] and just kind of draw in [Music] [Music] let's say i want to put in eighth note triplets here [Music] [Music] so as you can see you could do kind of just a tremendous amount and we could have these all kind of follow the transport if you wanted to so you could just say okay this one so you know and then you know even once you get into let's say i just want to do a new agent here we could just say okay i want to reset the agent uh or i'll just cut the kit here and each of these would just show up on different midi channels so you could have them all going but you know if i wanted to even just kind of drag a particular drum loop in let's see if i have a loop here quickly i could i'll drop in okay so as i drag this loop in and now we could slice the loop and as we wanted to come over here we could create our slices and one of the cool things is let's say okay i have you know as we look at our slices it's gonna create the pattern so i could play the particular pattern here so let's say okay i just wanted to so say okay i'll just knock up my tempo let's say to 100 beats a minute so i can so let's say now i have i took that one drum loop it's now automatically sliced it when we go to the pattern editor uh so i could just say okay we go to our pattern pad and you can just hit the e key to toggle back and forth between pattern and instrument uh but as we come over here to slice uh we could say okay this is going to [Music] uh just you know be you know we could actually click on um and then you know you could actually at this point just kind of you know have this automatically classify like you know the snares together so if you want to say anytime there's a snare use this particular snare and you know also getting into the decompose function so if you wanted to at this point take you know this particular sample um you know you could kind of pre-listen to you know the different you know so if you wanted to listen to the transient the tonal parts um at this point you could just kind of go through and kind of do more sound design functions uh with the different parts where it'll just decompose the you know we can see the tonal part from the noise uh so you could kind of just you know take out the tonal aspects of samples so that's just a couple of things that come in the full version of groove agent 5 that aren't in the se so if you're thinking of you know i think it's worth it just for the percussion agent just to throw that on a track is a wonderful production trick um but you know since it's on sale during the end of summer sale you know it's a it's a great opportunity because you get more kits more content and ability to kind of mix and match all within one particular instrument okay so to see um in our question mailed in says i really enjoy your live streams many useful unusual tips uh i've been using cubase for 30 years currently on 1103 windows 10 eight core 32 gigs of ram uh there's a problem um it says when using very audio or audio warp the audio wave display and sound does not correspond to the playhead cursor position this is obviously makes it very difficult to make edits uh it also only plays with or without the s button engaged makes it impossible to edit in context so let's just jump back to a very audio project here okay so just come over here to [Music] my very audio so um so it says when using very audio or audio warp the audio wave display and the sound does not correspond to the playhead cursor position so um all right so i'm just going to turn this on and now i could hear it here so i'm not sure if it's if they're going through the control room um so it also only plays in solo with the s button engage makes it impossible to hear the edit in context so make sure that one that you have the you know the audition the acoustic feedback turned on uh directly there and that you know this gets routed through the control room so make sure one that you have um you know when you go to your audio connections that you have the control room set and the monitor set up there probably as opposed to like here i have my stereo out but i just have this set to not connected uh but as we do this then the only time i've seen where the waveform isn't kind of aligned with what we're hearing is when someone had like the time warp tool activated uh so just make sure that you don't have the time warp tool activated like maybe just switch it to the range selection functionality but you know but as you can see as i kind of work with this you know we can hear kind of you know all the events and i'll just turn up my control room so we can hear it a little easier here let me just adjust my control room volume up but as we you know just do that you know we can just hear kind of all of the changes as we move sections so you know so just make sure that the control room is actually turned on um it says uh there appears to be no transport controls when scrubbing when file is playing and when stopping and restarting it restarts from some other lease other seeming spot so let's say as i'm kind of just playing here i'll just restart this project so i just relaunched my controller here just to check scrubbing and stuff all right so now all right so let's say if i just put this into my controller into jog um so say a lot of files playing so i'm just doing just using my controller i have a cc 121 i'm using so while it's playing [Music] and if i set this to so let's say if i had this in the lower zone i'll just kick it back here so let's say just go to the lower zone now so if i switch this over to um [Music] let's say from play to scrub that now so you know if i'm just kind of here you know and again that goes through the control room so you know make sure a that you have the control room set up and that you have in the very audio that you have the you know the audition sound but you know as we just kind of come right over there we can kind of hear the scrubbing as expected so but it's kind of a lot of it sounds like maybe a control room not set up so if you let me know okay so we had a question sent in how can i automate a preset change inside a cubase plug-in the effect plug-in has several presets but some that i created now i can and now how can i configure presets changes during the song i mean start with one vst sound jump to 10 vst sound i've tried drawing it in the key editor articulation program change no luck so sorry for hitting my mic that's annoying so let's see i think i may have had a project set up for this let me just okay so let's say if i just wanted to we'll just do a new project share this all right so say we have this loop and i'll go ahead and just loop that [Music] all right so let's say i just wanted to go through like an eq or let's say like i'll just come over here to an insert [Music] so let's say our studio eq [Music] all right so let's say i have that set up and i want to do like a program i wanted to just change so i would just click on the plugin itself and say okay right now i want it to go too and then you could just automate the so just load up the sound and just automate it so you can say okay right here [Music] so now as we just kind of play back you'll just see all the plug-in parameters are automated [Music] and then if you need it to you know just move the automation you can at that point as well and just you could just put to snap to grid select the points and move it just like we showed earlier okay so i see uh greg when i'm installing from the steinberg download manager and instrument and soundset from pro11 uh are both installed automatically or do i have to manually add them after the download i'm asking because i see the files on the download folder after the installation is finished can i delete them from that folder i think you can but it could depend if you go to the steinberg library manager let's open up both of them really quickly so i think here we could if we go to the steinberg library manager that you could have like a default location set that's going to be independent so let's just come [Music] over here i'll just cancel out that so i think when we let's say we come here i just wanted to get bloom that we can see the target folder and then when it installs that it goes into the default location and you could set the default location of here within the within the steinberg library manager so i'm pretty sure you're okay once it after it's installed that you could uh remove it from the download folder so it's going to be in your download steinberg mac os x or or mac os or um you know your 64-bit uh win64 folder all right so we're going to go ahead and jump back to the live stream thanks for all the questions again if you want to submit questions in advance you could go sorry just that all right let's jump back to my live stream questions all right we see that i'm at 99 likes if we get 100 likes for friday that'd be great it'll make me feel like i accomplished something all right all right so let's go ahead and get back to our live stream uh so you see a question from jeff sabelski uh greg i'm curious do you own or maintain a record collection with a working turntable i had a working turntable that kind of got damaged by the movers in my last move uh so i still have some lps but i haven't really listened to it and if i found like 200 you know i may get a turntable but i i haven't yet so all right glad that cubase junkie can make it um all right so you see some more discussion from anthem's jam so yeah use the line tool and that will conform to the grid but the drawing tool will be independent of it you see according to base junkie midi modifiers is the most time saver all right all right so we see uh best korean jesus on the live stream it's great to see on the zoom meet up last week or on tuesday rather all right so you see cubase junkies saying uh don't forget uh ds spectre layers uh seven if you have cubase 11 pro it comes with it so you get uh spectral layers one which is kind of a scaled down version but still does like removing vocals from tracks okay so i just see from uh uh frankie elliott um been a while since i've used new endosx those latency plugins and assume with new device tracks never a problem yes so yeah you know [Music] many plugins don't even have latency so all right we see kept energy music on the live stream thanks for joining us all right uh so you see a question from andy lane uh how do you automate the master channel greg so really if you have a project let's say so say if i'm playing this so a lot of times when we let's say if we have uh automation you know you'll see on if you just wanted to draw it in on the main project you'll see input output channels and here you'll see like the stereo out so within this folder and then you can just kind of draw in automation like that for the stereo channel you could also just you know while it's playing back uh the project you could just come here and automate so say i'll just [Music] just come right over here and i'll just and you can just automate the master fader like that but uh by default if you just want to draw it in just you'll see like a little folder for input output channels and then you'll see all of your input outputs and you could just draw in a fade in or fade out just like that mandy it used to be that you that wouldn't show up until you actually automated the fader so they just kind of put it on the main project window so you could just draw fades in without having to write automation to it first all right wonderful to see gareth on the live stream glad you could join us okay uh so a question from jvi more refresh request if i want to move a midi part only up or down in pitch but locked in time how did i do it again okay so let's just add okay so if you want to just select the note or group of notes um so let's say i just did a control or command a i could just use the arrow keys to go up and down and that would go chromatically um you know if i wanted to go up an octave or down an octave just shift plus arrow up and down so whatever notes are selected so you go grammatically just using the selected notes with the up and arrow keys on your computer keyboard shift up shift arrow up shift arrow down would knock it up and down an octave all right okay just reading through more comments thanks for all the great questions okay um can we use net to search but does sx offer guitar processing opinions uh for amp tube sort so yeah if you go under distortion um you could just kind of come right over here so depending on which version i think might come in six uh but if you look under distortion there's a vst amp rack so or the you have an amp simulator which still sounds great uh may not be like the coolest looking user interface but under distortion you could also get into the vst amp rack where you could have kind of an assortment of you know different amplifier heads and you can mix and match with cabinets uh different pedals you know mic positions so this has been in for 10 years-ish or so so depending on which version of sx you're in but you know there's still very capable you know steinberg is actually the first company to do like software guitar amp like in 95 i think uh so just see from mandy lane will cuba support windows 11 i'm sure i think there's a lot of people using it already and some of the pre-release versions but uh i'm not sure if they've gone through all the quality assurance tests on windows 11 i'm sure they're you know they're doing their testing on it now but i'm sure it will be it's i don't think it's that huge of a difference from uh an audio interoper you know audio standpoint so okay so we have a question uh from uno memento i have an audio track that i would only like one small part of for another track so i could lengthen the audio file so that the short bass sound would last longer uh how's that done okay so let's say if i just want to take one [Music] all right so let's say i want to take this particular note okay so if i wanted that particular note to last longer you could actually just by switch to sizing mode to sizing applies time stretch and then just stretch it out just like that so now when we play it [Music] and if you wanted to so going from [Music] so you could do stuff like that that's a kind of very easy dude if you also wanted to double click on you know particular notes you could go into uh like sample editor if you go into free warping you know so if you have something that's like you wanted to let's say go to hit points um so let's say we will calculate the hit points for the part uh and then we could create warp markers get to the audio warp and just get a free warp so if you needed like a part you know let's say they just didn't hold a note long enough you could just take like that one individual note shorten it say okay i want this note longer shorter whatever so some other ways of doing it all right so we have a question uh t guitar pattern selection how can i record different patterns picking styles on the same track all right so i haven't worked with t guitar in a while it's actually kind of sold by steinberg but not necessarily a steinberg product let's see if we can get it figured out okay so now we have our t guitar here so let's say get my keyboard kind of set up here so say [Music] all right so now we'll come over here let's edit um so i think if we come over here and i'm not an expert on this but let's say we'll put it in pattern mode so now we'll have a play just let's say [Music] so now these trigger notes will trigger different patterns [Music] and then i think if you wanted to go if you select the particular pattern you could say okay i want a folk pattern on this note if we select a so now [Music] [Music] i think you could actually just kind of come over here and set different patterns on different keys let me see if i remember but you could just have your kind of different patterns here [Music] so these notes here would trigger the different patterns [Music] i think there's a way that you could assign these two i could do some research on this over the weekend but let's say if i wanted this to be a blues pattern [Music] so but i'll do some more research on that and we can touch on it on tuesday's live stream so i'll learn it better all right we have yanata checking in from bali thanks for joining us all right uh so we have a question from ryan how to bring two projects into one project so if i have like this project here set up and i wanted to incorporate a different project we could just say let's import [Music] and we'll say tracks from project i'll say let's take this project here i could select all of my projects come right over here and now we could have that and as we do the import tracks into project uh import tracks from project rather so once we just have this set we could choose to import it at its absolute position at the cursor we could include or exclude automation if i just want to get the tracks without the actual parts or events we could do that as well so just do file to import tracks from project all right wonderful to see graham witcher able to join us in the live stream all right so we see a question from best korean jesus uh hey greg i'm having an issue slicing audio from sampler to groove agent and having exclusive groups work samples are long and in the same exclusive group but they continue to play overlap any ideas so let's see if i can remember how to do this okay so let's say if i have this particular drum loop we'll take it into our sampler track let's create slices all right and now i'm going to take this and export it to groove agent se all right so we have that and let me see if i remember how to do the exclusive groups haven't done this a long time sorry okay so well so just having a brain cramp of where to set the exclusive groups on it let me see sorry i'm just having a brain cramp on that um but if you want to email me i could play around with it i'm just trying to remember where to set the exclusive groups i could show the exclusive groups uh or if you want to give me a hint just as a reminder um let me just see if oh okay maybe this is it exclusive okay so we got the exclusive on for that um all right so just going to reread it again here just regroup agent having exclusive groups work samples are long and in the same exclusive group but they continue to play overlapping so let me just put these into [Music] these two pads into an exclusive group um yeah if you want to send me a project uh you could send it to club cubase at steinberg.de um but i'd be happy to kind of take a look at over the weekend sorry about that but all right read through comments all right greg glad to see mark ravens able to join us okay so i just see question um when you mute several clips in different channels they all become white when you unmute one of them it receives [Music] it receives chosen color but when you mute it back the color remains the same how to make it white as muted tracks okay so let's take a look i just find a project i'm thinking of okay so uh when you meet several clips in different channels they all become white okay uh so let me just do that across all those channels okay um okay uh when you unmute one of them uh it receives a chosen color but when you mute it back the color remains the same so it looks like that functioned as expected so say these are all white i mute it and then unmute it and then mute it again it seems like the color is functioning correctly for me there so let's say i just select these i un i click on that with the mute tool it's unmuted i click on it again it's muted so that seems to be working as expected so let me know if i'm doing something different it's from uh darius uh so i just see a question do you know when cubase 12 is coming out probably when it's ready um so i know it's they're probably working on stuff as we speak but even if i did know i'd probably be under an nda and couldn't really discuss it so all right so we have a question from mark rabin uh sometimes when recording audio after i finish i click the audio it does not bring me squares in the corners but instead covers the audio with another track drag lines the full song so usually when we see something like that i'll just go ahead and do a new project here quickly so say i just record audio here um so i would so i mean there when we see that i would usually when we see the events it kind of means that something is overlapping that there's two overlapping events so let's say if we record this so if it looks like that that generally means that there's something overlapping so i haven't really ever seen that before i could see you know if there's an event there maybe it's you know i don't know if there you know if it you know if there was maybe another lane selected that made it but you know if it kind of looks like that mark it kind of indicates where you see these kind of diagonal lines it indicates that there's audio events under it or maybe two different tracks are being bussed to the same input uh and it's recording two different files or something maybe you know so but that's that's what comes to mind for me all right uh question does groove agent have any of the original sounds of the yamaha emr1 digital drummer i don't think so i don't think they went back to some of the yamaha drum machines so i think it's independent of that okay so you see uh second question from mark raven uh sometimes mostly with howie and i get some distortion uh with and without delay compensation like cpu but when i reset midi it goes away for a second and then returns so with hallian if it's you know check out um you know it could be a buffer setting so if you are doing it at a lower buffer also and you could do this in hallian or halley in sonic sc but if you go to options you could try to adjust the preload amount here and also you know if you have a multi-core cpu you know try to activate multi-core cpus uh sometimes you know when you're doing this and i was helping a friend yesterday and he just had kind of a large piano library and i believe that when he was kind of playing the first note by time it was loading all the samples for you know that particular library that it was you know causing kind of like a cpu spike and some you know which could lead to some audio artifacts so you know try just to raise the preload buffer and see if you raise the buffer on your audio interface here as well in the control panel and see if that makes a difference for you mark all right um okay so you see question um all right how can i use loop mash as effects uh so i can record it into a track instead of live performance you know so if we come over here let's just add all right so say i'll just come over here and all right so let's say i have this track going to a group [Music] all right and then i want to add an audio track and we'll make it a stereo track and set the group as the input [Music] and let's say on this i have the the uh [Music] the gr the loot mash fx the effect here so let's say i'm just gonna play and record so i'm gonna enable record on this audio track [Music] so now everything i'm doing is just recorded uh into this audio track so again just try um you know taking whatever performance you're doing in loot mash fx and on that track route it to group add an audio track and set the group as its input okay so you see a question greg i'm wondering how much ram memory do you have in your laptop to have cubase run so quick so i just have 32 gigs of memory in my laptop so it's and at this point it's uh almost about a year old my laptop i guess i got it like december uh december 2019 that's why i got my laptop so it's always two years old all right so let's see gareth's gonna send me some wave files when the final albums done so and thanking me for playing bass it was a pleasure so looking forward to hearing it i just he says uh sounds like some jodeci so yeah i had a lot of friends that worked with them so kevin walker was just talking to us we could play bass with them and daryl pearson did a lot of work with jodeci okay lost my space just trying to find it okay all right great to see david m from liverpool all right i see yeah jeff sebowski is hanging out the movers uh yes i don't think i can get movers insurance i think it was it might have been someone who's working in a house doing some painting or something so but yeah i'll probably eventually get a turntable so all right so i see from darius uh when you turn on lanes and record different takes uh you mute all the takes and they seem to become white uh when you unmute one of them it becomes uh colored when you mute it back uh the color remains okay so okay so we didn't say it was uh on in lane so let's do a quick lane recording test thanks for all great questions from everyone okay so i'll just do a quick uh audio lane recording here all right and i'll actually put it in cycle mode so all right so generally you may not want to use the mute tool while you're doing in lanes but maybe rather the comping tool so let's go take a look at all right so i'm going to open up the lane view now all right so we have kind of one part uh that's active so maybe instead of muting you know just try to come over here and use the hand tool and then you could make the different parts uh active kind of just by doing this so you know and if you want to just take just a little part you know so think of this as using more of the active you know functionality and then this will automatically so you want to kind of you know choose what you want as opposed and the rest of it will be unmuted so try not to think of like working if you're working in lanes to use a mute tool but rather to select what you want with the comp tool see uh graham saying that certainly sounded like sting if i ever lose my faith in you so it was a cover band of it so all right so uh greg i've downloaded some midi files when i play it the volume knobs are all down to zero but everything plays perfectly is there any hidden automation on them so sometimes you know the midi track itself may you know if you have a midi file then the midi may go down to zero indicating and use uh and it could use the volume from the actual instrument as opposed to the midi fader so the midi fader is just going to be like uh midi cc7 so you know if there's no midi cc data then you're fine so that is probably just so you don't have like the midi instrument and the midi volume kind of conflicting against each other okay so i think we're just about out of time i want to thank everyone for a great live stream today i thought maybe it would end early with the holiday weekend here in the states but i realized it's not labor day everywhere else so thank you for the wonderful questions if you are in the united states have a wonderful three-day weekend or if there's an equivalent we're kind of end of summer holiday which is what we're doing in the u.s this weekend we'll be back on tuesday starting at 1pm us eastern and if you have questions please send it to club cubase at steinberg.de and everyone please stay safe and healthy and we will see everyone back on tuesday thank you have a great weekend

Channel: Cubase

Views: 31,108

Keywords: Best music software, best daw software, best daw software for mac, best daw software for windows, best daw for home studio, best recording studio, best music production, best workflow, best digital audio workstation

Id: kxtTPqRbSTg

Length: 239min 35sec (14375 seconds)

Published: Fri Sep 03 2021