December 17th 2021 Club Cubase Live Stream

hello welcome to the december 17 2021 club cubase live stream i'm gonna do a quick audio test and we'll get started bear with me just for a second hello welcome to the all right my monitoring computer sounds fine my name is gregundo i'll be the host for the live stream today i work as an employee for yamaha corporation of america primarily focusing on steinberg products and i'll be the host i'm presenting from united states just outside of washington dc area in alexandria virginia if you are watching the live stream live please feel free to introduce yourself and tell us where you're from if you have not attended a live stream before how it works is you could submit questions in advance to club cubase at steinberg dot d e or simply during the live stream uh ask you could go to the chat field and type your questions there we'll try to get through all the questions as completely and as succinctly as possible but my ability to answer questions in a real-time manner will soon be eclipsed so if you know i will try to catch up but at some points i may be 30 minutes behind the live questions on the live stream so but you know so if you don't see an immediate response if we could try to refrain from asking the same question repeatedly or multiple times that would be appreciated once in a while i may lose some questions as the chat field gets too populated and and if i do lose some questions i'll let people know and then you could you could ask your question again um so and when asking questions if you could specify which uh which version of cubase whether it's le ai elements artist or pro which operating system you're running mac or pc and which level of cubase so version number so if it's 10 10.5 or 11 that information will be helpful we should have all of the topics covered in today's live stream pinned to the top of the comments field later tonight i'll have to go back and re-watch the whole live stream and kind of index that and but there will be time stamps so you can jump immediately to a particular topic if you want if you want to search for topics that have been covered in previous live streams you could go to cubase in cubase index.com and that is uh compiled by yan from stockholm who's kind enough to do that so we should give a special thanks to yon for all of his efforts uh we have two people that volunteer their time they're not steinberg employees but just wanted to make the live streams a better experience for the community so we want to give special thanks to agent k into jazz dude and uh there's another wonderful resource of information for steinberg users is going to be the cubase nation discord and with that we could also thank jaz dude for compiling a lot of information uh tuesday will be the last live stream for the year and with our tradition it's going to be the last live stream for the month um and with that because of the holidays we're going to do a two-hour live stream and have kind of a little holiday get-together so it'll be our one-year anniversary basically doing kind of a a like a zoom meet up so i will go ahead and post the zoom link now so people want to have it for the reference i'll post it in the chat field um so let me just switch my keyboard to the correct computer here and i'll go ahead and post let's see if i can i have a one computer keyboard that switches between multiple monitors and in just a second i'll see if i get it too all right so i think that's now posted um so but if you haven't attended the zoo meetup before i think it's always really enjoyable for attendees uh i think this time we'll just kind of you know do you know some some of the months we've had kind of special guests and i think we'll just kind of do more of it get together uh and catch up with each other this month and and uh i look forward to that so this is this is just a great way for uh other people to talk so you don't have to listen to me all the time and uh get to meet each other and they're always really enjoyable conversations and topics that come up uh last month we had mark ruse kind of share some of his uh composition tips and tricks and giving advice which is i think really insightful so with that we will go ahead and get started um okay so we see i'm gonna break out my chat so i can see it a little easier pop it out okay so we see matt elston checking in from london all right we have david griffiths checking in from north wales uno momento from finland we have guy nils from tel aviv he's a music producer thanks for joining us we we see yon from stockholm with millard brown from pennsylvania all right we have michelle checking in from bavaria germany and we have benny from sweden as well all right we have belgium all right and we have the cube checking in from melbourne florida all right so our first question for millard brown all right so we'd say uh greg my cubase i forgot everything windows layouts recent projects keyboard shortcuts io setup etc even decided to remind me to register where would those settings have been um so generally most of those settings you may kind of get that if you choose to start uh the program in kind of a safe mode so you know a lot of times uh if you do kind of get a crash or let's say you have a plug-in that takes down a system if you hold down um you know the so i'll just start up let's say if i start cubase 10.5 here hold down like alt control shift or command option shift we could come and we could disable the program preferences so maybe it kind of started in safe mode and if you did that you could disable the program preferences but if you wanted to kind of trigger it back one of the things that you could try is to just hold down you know command option shift or alt control shift right after clicking on the icons and then from there try to just say you know use regular uh you know program preferences um and see if that does it but you know basically all the preferences should should be there unless you specifically told them to be deleted but if you had saved it as a profile which is always a good thing to do you can just come right over here to your profile manager you know and then you could try to import a profile if you did have it saved sorry for all my annoying mac os permissions messages that are popping up so give that a try but it seems like maybe it's just kind of running uh in kind of the diagnostic safe mode and that's when you can get it and you know so it's kind of almost like starting from scratch if you will so let me just quit the appropriate version of cubase here now we have this up all right okay so we have um so you see question uh morning greg how can i trim some of the volume automation with faders without overwriting the original automation okay so let's say if um you know there's a couple ways to do this so if we have let's say automation going on this particular drum loop here so i will and let me just check my audio outputs here okay so let's say if the in this if i have some automation going on so say i'll just draw in some automation so one of the things that you could do if you wanted to kind of trim the automation if you want to do it kind of at the pre-fader level you could come here and just adjust the overall ampli you know you could do the clip gain volume so that's one way that you could adjust that but you know and that's kind of before the signal hits and that may affect like the gain structure going into a compressor some people will choose to come here and just take the automation and just be able to kind of adjust it down like so some people may also want to add a vca fader so if you have like a lot of effects going on with this if we add a vca fader and then we choose to automate the vca fader so if i come here i can now just trim the vca fader and we could retain kind of all the automation but we could just make this kind of lower so so when we look at this um we could and if i wanted to see kind of the effect of that automation on the automation you could click here in the vca fader and just say combine the automation and that will take what was the vca fader automation bringing it down and apply it to the automation so that's kind of a couple of different approaches one other approach is if you wanted to just it should be similar to the clip gain is just coming over here if you go to the channel eq you can see in the pre section and at this point you could adjust you could trim gain uh directly there as well so there's a couple different ways of doing that all right wonderful see michael pierce on the live stream yeah i'm glad you got the email so you can see it steinberg listens for what guys are communicating back all right all right so we see you get uh benny just saying yesterday about cubase 11 and jump up from nuendo 10 to cubase 11. all right all right and we have michael checking in from british columbia we have robbie bowling from dallas tim weinheimer we see we see from mission viejo we have jvi checking in from amsterdam okay uh so we have a question from the cube do you need groove agent five to make patterns in groove agent se5 and if not how do you save midi patterns uh that you make in the drum editor in cubase pro 11 so you know there's a couple different ways so let's say if i had a i just create a little drum pattern that i want so let's say i'll just do world's worst drum beat here and i'll just do like a measure so let's say okay okay so say okay so if i just wanted to have a beat here um you know really all i would have to do to save that independently so that i could just come over here is just to go to your file menu and then you could export midi loops so you could just say bad beat instead of bad bear so now when you come over here you could save that as a midi loop and that midi loop will automatically save everything midi loops are kind of like midi files but they are they associate the particular instrument that was used in the midi loop so at that point you could just drag that midi loop from your media bay into any project completely independently so you so that's an easy way of doing it you know so groove agent um you know will have its own like the full version of groove agent will have its own internal kind of drum programming option kind of similar to what we see here in the drum editor but if you just want to do it in a project window and have it automatically load up that particular kit and instrument just come right over here and export it as a midi loop so we could just come right over here so once you have that done okay so uh we have a question from mitch michelle uh so uh when um so says my question for today is when in the uh midi audio editor how can i adjust the scroll speed when editing not in play is there a way i can grab the screen where there are no notes and drag it along um so you know let's say okay so let's say if i just have maybe different events here i'll just kind of maybe create this scenario um okay so um so adjust the scroll speed when editing not in play so i can grab uh the screen where there are no notes and drag it along so let's say if we're in the editor let's say if i have these events like glued together and i have just space in them so all right so let's say if we're in the midi editor here um and we want to just navigate to the next note so i think even if you're here and you just hit the um you know just hitting the you know one way to kind of navigate between you know different sections if you have the notes selected you can just hit the left and right arrow keys and that will navigate you to like the next bank of notes or to the next audio event so if i'm here at the last node i could select that and just hit there um you know depending on how much you're doing you could also you know just come here and you know kind of navigate in zoom as well so if you wanted to like while you kind of do your edits so let's say we're playing along here um and i'll take it off of loop but at this point let's say and i just quickly wanted to go so you know if you also like within the editors um if you wanted to speed up you know you could hit uh the plus and minus and i think if let's see if we could so say if i hit this let me see if it's just in the main project window but i think there is if we go to editing preferences that there is kind of a like this quick scroll i think when holding down shift key let me just see if there's if it's set in a preference maybe it's under transport okay so let's say if i just come over here to uh my fast wind factor so let's say if i set this to you know so if i just do this so you could adjust so if you go here to this preference if you wanted to move you could uh you know have the wind speed options and then you could have it fixed in a four speed factor so while i'm here um i could use the plus and minus keys on the numeric keypad to so plus is fast forward minus is rewind and then if i hold down shift you could increase the rate of that so this is with shift this is without shift so with shift so without with without with so you could adjust you know to have different uh factors for rewinding and fast forwarding while you're in the editor so you give that a try let me know if that's helpful all right michael pierce wants everyone to bring their party hats on tuesday okay reading through comments all right uh so question can i rename an automation track so i think that the automation track is going to be tied to the particular parameter um so i don't think it's so you know if i wanted to come and automate a particular element of an automation track so let's say if i come here and i automate my eq and then you know we'll just come over here and we'll open up our automation lane so say now um let's say while we adjust this i just wanted to so you know it's going to be the parameter that is automated that you'll see so let's come over here and i'll just go to my automation panel so we'll say show used all right so i'm just going to automate it this time that would be helpful all right so let's say while we come here so as i adjust the parameters so the automation is going to be really tied to the particular parameter that's automated and i know sometimes it may be kind of large to see but uh but i don't think it's nameable it's just kind of whatever the parameter of the plugin that's being kind of reported to um you know to the program then that's what it's going to show so i don't think that that could be renamed so okay so we have a question uh can i keep monitoring open while recording and playback the recorded track at the same time without using another empty track so i think that it's going to basically you know if it's you know if you wanted to monitor and hear you know that i don't think that's possible so you know uh what a lot of people do you know because it's it's not like a multi-track track you know because you have a multi-track daw where you could have multiple audio files and multiple tracks playing so i know you know we've had requests from you know guitar players and stuff who always want to be able to play along on the track that they are recording and they want to hear the track and the input monitoring signal but i think you really need to just you know even if you duplicate the track without events or just have an empty track that you're monitoring that that's going to be a better approach because otherwise the track you know instead of it sounding twice you know and you know trying to find the balance between those two um and that could get to a lot of weird things in uh big projects for customers to get really confused on so i think you you know if you wanted that to always have like a track to monitor an incoming signal is you know maybe just have a generic track that's available for you to do that with all right so you see soren from sweden all right and we have demetrius from greece all right so a question how do you remove unused plugins from the plugin folder um you know so cubase will scan whatever you know so if we come over here to the vst plugin manager you know there's going to be a common plugin folder for vst3 plugins um and if you want to not see plugins um i'll just make sure i'm rereading it you know just reread it one more time all right we see john kosigan popping in um okay so just removing the unused plug-ins um so if there are plug-ins that you don't want to use you could go to um like on a mac i think it's just going to be or come over here to your finder and let's go to [Music] the library folder here so i think if you go to audio and then to plug-ins you'll see vst and then you know this is where um i think that's where you would see like on the mac the vst plugins folder so you could go through and just manually delete uh but i'm not sure if you want to delete the plugins that aren't being used or if you want to like if you install plugins and you don't want to have access to them you could just simply remove that um so but you know when you say unused plugins is it unused in a project or unused on this system if you could clarify that that would be helpful all right so we just see uh when in polish language so i'm sorry i don't speak polish or i just have a kind of cursory high school spanish but i think you might be able to you know we try to keep the live streams to um four hours or under four hours so that youtube can translate it uh but there's lots of people who you know don't speak english that can do like a google translate to ask questions as well all right we see mandy lane on the live stream and we see trond and jvi all right and all right so we just see i struggle with the master mix please show me how show me some way to get it cheesy and loud without distortion okay so let's come over here um i'll just open up quick project you know so just kind of like root you know normal gain structure stuff is is always good but let's say if i'm here uh and this is my project and i'm doing a reference with others i need to kind of bump up the audio levels you know if you go to like your master fader you know consider going to look like one of the limiters is always good but let's say i'll go to my dynamics uh even squasher you could probably get some great stuff so let's say i wanted this to be like an overall mix like a master bust glue [Music] so this is kind of a multi-band up down compressor and here we could adjust our output [Music] and if i wanted to just run like maybe even a standard limiter [Music] and then here you could have this [Music] another big thing that people would do is just using also like the maximizer so if you wanted to go to the maximizer and here we could have like a modern level as well [Music] you know and what a lot of people do is you know do the mix down of the particular file so let's say if i wanted to come here and do a quick mix down of the file so say i'll bypass all of those okay that's fine and i want to do an export audio mix down you know if you're not taking it into mastering we'll say okay let's do our stereo and i'm just going to import it into an audio track and we'll export the audio and we have our file here so say okay this file isn't as loud as we want is just coming over here and saying you know once we have that particular file you could go to your audio and then you could go to process and then just go to normalize so let's say if i take this file and we listen to it you know we could play so let's say if i just wanted to remove that i could just uh delete that process this is like our mix down level for the project and then if i wanted to process and normalize the audio we can do this too like minus 14 luff's [Music] so if i wanted to take that out [Music] so sometimes people will take their mix down that they're happy with the gain structure and then beef it up at the end through like normalizing as well so there's a couple of techniques to kind of make it cheesy and loud without distortion all right all right so we see tron from norway uh as i see from michael uh guarding can use user profiles in cubase be transferred to nuendo let's go ahead and just do a quick test i believe that it should be able to so say we'll come over here i'll export okay and i'll save this to desktop all right move maybe not gotten the period in there okay so let's come over here to nuendo i don't have enough audio interfaces on my system apparently all right yep looks like uh their profiles will carry over from cubase to nuendo as well so okay so the next question um okay so we say uh hi greg i know teemo watching this feed and i would like to um say how happy i am with the outcome of the new licensing system steinberg really do listen and care great work from team steinberg so yes uh so for those people who aren't aware there was changes to the initial rollout of the licensing system uh and there's a lot of you know feedback that you know steinberg had received from you know this form and other forms and other communications from customers so uh you will now be able to have the you know starting with the new licensing system uh once it's authorized it's not going to do a 30-day check so it won't need to to kind of check into home so you won't have to you know worry about being in the middle of a project or traveling and have a you know call-in check to the you know to the online uh license management system and also it will instead of being for two computers that uh software can run on it's been upped to three computers so uh which is kind of you know some of the feedback that people would wanted especially in this forum so you know it's great to see that steinberg reacted in a way that's really beneficial to customers so i thought that they handled that really well all right so you see brian sawyer from uh buellaville north carolina great to see you on the live stream okay so we just see a question uh what are the settings for changing what alt click does for example in the selection tool alt click is a split slash cut function sorry for my english so if you want um to modify what kind of the keyboard modifiers are set to um you could come over here to the preferences and go uh to tool modifiers and for each of the tools like you know if you as mentioned if you do a select tool and then with the object selection tool if you hold down the alt key you can split you know just clicking directly there but you know if you wanted to modify and change you know some of the options and modifier keys you can come over here to preferences to editing to tool modifiers and then you can go to the select tool so here you could just say you know i want it to set to position like you know i wanted to click here while holding down these modifier keys and instead of selecting the event i want to move the playhead position so you could set the position you could edit velocity uh in the midi editors you could split the event slip events and you could modify these so all you have to do is kind of select here type in your keys that you want to do for modification and then click assign so you could assign kind of you know power user features for different functions and tools using the modifier keys and you could customize it as well all right so you see um from neurotic nexus says did i hear it right in with one ear in the beginning that today is the last live stream of 2021 so now it'll be tuesday will be the last live stream so today will be the last normal like four hour marathon live stream uh and then tuesday we'll do a two hour and a two hour kind of holiday zoom get together so look forward to seeing everyone on that okay so i just see sorry is this my chat jumped on me okay um okay so from filter-free question uh if i edit a part is it possible to move the part along the track with the key command by the quantize value um so it says uh so let's say if we're editing this um so if it's a midi part let me just get to back to our other project so we can see midi and audio okay so let's say i have my quantized value here set to quarter notes so if i have this event selected you could hold down control or command plus the left or right arrow and that will move it by the quantized value if it is actual midi notes so if i wanted to come here i could take the selected midi notes or all midi notes and the same key command and that's kind of like nudging the events right there so at this point you could you know move parts on the project window and if i wanted to change the quantize here to you know dot it quarter notes instead we could do that for both midi and audio parts on the project window or just individual notes depending on what is selected so we can just say left and right arrows plus control or command all right so i just see a comment uh i'm not sure this is kind of tied into other discussions says i don't like midi editor for drums you can separate drums sample to produce i mean you can't separate you know so if we have like you know our drum part here let's say you know if we wanted to go to uh and we look at it in a key editor so let's say if i just want it to [Music] let's say if i have a midi part here and i had programmed i prefer kind of the same reasons you know so let's say if i had different pitches here and these were you know kick snare hi-hat whatever sounds uh but you can just you know easily come over here go to the midi menu if you want to split uh and then you'll see just a quick i'll select the event and then you'll see dissolve part and you could just say separate by pitches and now each pitch would be automatically split to its own tracks that way so so in that sense you could separate it quite easily okay so just see a question uh is it possible to have two tracks for groove agent uh one with the block patterns uh and one with the midi events uh maybe one track uh instrument and the second one midi so yeah so once we have you know let's say if this is my groove agent track um you know so if you wanted to come here so we have our instrument track and so now if i come here and create a midi track um it'll be automatically usually let me make sure i have the track selected here okay so as soon as i come here i'm going to so let's say i have that selected and okay so usually so and then at this point you know we could say we're going to have the first groove agent forget the past and i could just come over here and there's actual you could have it you know set up so that this would be you know one for midi notes and one for block patterns so you could have it be routed to the same instrument but you know groove agent if you look at it and we open this up here you could actually see that there's going to be um you know once you go into the pattern you'll see this little icon here and this you could have a separate midi port for it if you needed to so that the pattern port could be independent of the port that's triggering different instrument sounds okay so we have uh peter checking in from montreal all right so we have another groove agent question uh how do you keep off block how to keep off block names when drag dropping to a midi instrument track so let me just i'm not sure if i unders you know i might not be understanding what the block names are but let's say if i drag over a pattern so i'll open it up and i want to drag this pattern here so we can see okay so i think that's gonna still if it's this name here um all right so let's say if i select those and now if i so it looks like those are dragged over but you could just select the events and go to the info line and not and change the name so if you want if that's the name that you're trying to get rid of you know you could just come right here and rename it however you see fit so let me know if that's what you mean by the block names or the block patterns all right so we have richard checking in from the uk thanks for joining us all right we see nexia on the live stream thanks for joining from i think northern new jersey new york area all right uh so we just see question hi greg is there any way to quickly change a large number of audio clips into musical mode besides opening up one by one in this sample sampler editor and clicking on the quarter note yeah so that's good and show you a number of different ways to do that so let's say um i wanted to place a number of audio tracks into musical mode one is just to select all of the events here on the project window and we could see from the info line that we could just now assign musical mode to all selected events there another way to do it is in the pool window so if we wanted to select all of our drums i can come over here and then we could enable musical mode on all of the audio files right there so you don't have to do it one by one by one by one so try those two methods and that should speed up the workflow for you uh so we have a question how long will be free to upgrade to cubase 12 from 11 is there an end time uh will you run cubase 12 during the live stream so yeah i will run cubase 12 during the live stream when it's available uh so as soon as it's released that's when you know i think all the live streams will migrate to version 12. so you know i think how it works is that you know whatever you know how it's worked in the past is you know whenever you activate the latest whenever you activate the license it'll be for the latest version so right now and then if you're within a certain amount of time there's a grace period update so and we're currently in the grace periods you know for over a month now steinberg usually does about four weeks for grace period but they've extended the grace period significantly for this release so from november 10th of this year to the release any program that is activated will automatically qualify for free upgrade to cubase 12 so that that's a a really great thing uh and i think that if you wait it until you know a year from now and cubase 12 is still active that if you act which when you activate the license that that will allow you know that will activate to the most uh current that will activate to the current version so i don't think that there's an end time with that but you know it is migrating also to new licensing systems so uh at some point it may not automatically turn into that and if you wait like two years or something all right and we have matt elder from canada checking in glad you can make it um all right so we just see uh is there any way to have cubase increment numbers when duplicating tracks instead of adding d for example instead of claps o one to collapse o one slash d you'd have claps one plus claps o2 um so there's a way we could do this you know we could do it kind of in the project logical editor as a naming condition so let's say if i wanted to go to my project logical editor and i want to say name contains and i'll just put okay so we'll say name contains like the d in parenthesis what we want to do is to and we'll come here to name and we'll say replace with o2 okay so let's say i'll come over here i'll duplicate this particular track i'm gonna make it the active project that would help sorry about that hate when i have a brain cramp all right so now we'll duplicate the track and we'll come over here to the project logical editor see if that does it all right so let's see if we can okay so let's say i will come over here say media type is equal we'll say container type is equal to track i'm gonna try this so yeah so if we do this i just said a typo so we're saying container type equals track you could just say name replace search string which is the duplicate like the bracket d and we'll replace it with two so you could set that up and have it as a keyboard shortcut if you wanted to so now if i wanted to duplicate this track you see the d bracketed now i could just come right over there and just replace that name sorry for my typo and my brain cramp all right all right so we see uh hello i've somehow zoomed in on my mix console 3 f3 and now it only shows a few channels at a time how to zoom back out cubase 8.5 okay so let's say i'm in my mix console so it's going to be you know just when you're in the mix console you know it's the same zoom key so let's say um if you have it zoomed out something like that you could just hit g to zoom that way and h so so just the same exact keyboard shortcuts for zooming g and h so just try hitting the letter g and i think that will take care of it for you give you more channels in your mixer view okay so we have a question uh any hint on how to automate midi note velocity according to strong weak beats on different tempo markings uh 4 4 6 8 12 8 and so on thinking about something like a metronome custom patterns okay so let's take a look okay so i'll just put this in drum editor to show here okay so let's say i'll just put this in as eighth notes okay and let's say i want um and let's say we'll just make this all like i'll just adjust my velocity here to 80. all right so let's say i want to make the downbeats um like on uh like beats one two three four to be up in velocity so we could do this with the logical editor so we'll come over here to the midi logical editor and you can set up different conditions for this so we're going to say um we want to transform and we will say type is equal to notes all right and at this point i want to say position position all right and i want to say inside bar range all right and then with this we will say and and then we're going to say or for our boolean modifier so we want to say okay we're going to do this around beat one around beat two round beat three so we get a little grid of our bar and let's say around beat four all right so now if i did this right so we're going to select we're going to transform those particular notes and what we want to do is to take those notes that we defined if i want to beat 1 2 3 and four and we're going to take value one of the midi note message is velocity or pitch value two is velocity so i want to say i want to add 20. so if i did this right we'll see the downbeats of every note increase uh by 20 for our velocity values so if i wanted to do that again so that's in if you wanted to you know say outside of bar range you could do stuff like that as well so you could set up conditions like that and just fire up and have it fired off from a keyboard shortcut very easily so give that a shot so you again transform type is equal to note position to inside bar range and then you could just graphically draw around the beat and make sure that the boolean condition here the first one is set to and the other one's set to or and then we'll say value two the velocity of those selected notes we want to add or subtract whatever amount of the velocity range so i could also say you know if i wanted to switch this to value one and i say okay let's subtract you know the pitch is value one so let's subtract three so now when i come over here all the notes are on the downbeats will be subtracted you know by three so we could do stuff like that as well okay so we have a question uh why we have vst2 and vst3 versions of the same plug-in uh do we need it or is just vst3 is just fine so generally you know you know not every you know not every program runs vst3 most of them do now uh but some of them were still kind of stuck in vst2 mode for you know program compatibility so not every daw is running vst3 uh for a while a lot of them are doing it now so as we work with that so the plug-in developers to you know reach other daw users and maybe legacy users would create a vst2 and vst3 generally for you know 99 percent of the time you know if you have the choice of just installing vst2 or vst3 um i would go with vst3 you know i just installed some plugins on my personal computer and it you know didn't ask me if i wanted vsd2 or vst3 just kind of installed them so it's really kind of up to the plug-in manufacturer how they choose to do that all right all right nick is saying to mash the like button so um so we just see any chances cuba is looking to include ableton live link was recently announced uh for pro tools and it's a game changer for us media composers so i you know we can't really comment on features and new programs but i'm sure that people are aware of it and aware of the desire for that so but we'll pass it along again all right um all right so we see from jay from connecticut uh i could be completely misunderstanding vst transit so please disregard uh otherwise could you please be so kind is to share with steinberg that some nuendo owners want access to cloud-based storage collaborative collaborative tools within the product interface as offered in cubase and flagship competitor brands so you know with innuendo already so i think some of the intention of you know vst transit is you know like the storage is going through uh i think amazon web services you know so a lot of companies would utilize that now many nuendo users are working on a lot of data so you know our nuendo post users will have very very strict uh requirements for where their media can be stored and it's probably not going to be something like an amazon web services type of solution so it needs to be a very secure content when you're dealing with films uh in soundtracks for films um and games so that's why we don't see that but you know one of the things that you could do innuendo if you're not and you can do this from a local area network or a wide area network j is as we go to you know open up and this has been innuendo for a long time so let's say if i come here and we'll open up the project is you already have network uh collaboration so let's so as soon as we come over here we go to um all right so let's say we like if i was working on a particular track here we could now come to this and you actually have a whole network tab directly here so once we go you know to your network setup you could at this point if people are working in collaborative on the same network and again you could have this configured for a wide area network i could say okay you know i've done these changes and now i could upload these changes to the network and have some and you know multiple people could be working simultaneously on the same project uh so as soon as you come over here you'll have the whole project in sharing permissions already so as soon as you come over here we could assign different tracks to different people and as you know and you could have an internal chat so many people will have you know like one mix stage and three other like edit suites and those people could all be working and uploading their changes into the session uh dynamically so you know so nuendo was the first program that actually offered that so that's a bit more sophisticated and makes sense for kind of file management for most nuendo customers with that so you know make sure that you utilize all the networking functionality that's already set up directly inside of nuendo because that's something really slick that is already available and you know works really well excuse me okay um all right so you see can i disable marker track lines and cubase elements all right so let me just open up cubase elements here quickly i think i got 11 installed recently all right so let's go ahead and just add marker track and i'll just try to make this a little more obvious okay so let's take a look see if there's a preference for this all right let me just just make sure it's not yeah i don't know if there's a way i'm trying to remember if there's yeah so it may be kind of fixed but it's something that people had wanted the ability to have those fixed lines uh for the markers but i can play with it more if you want to email me at club cubase at steinberg dot d e i could take a look at it over the weekend and we can mention it on tuesday all right so we have frank zimmerman checking in from berlin thanks for joining all right so we see michael teams checking in from weather for texas i think he's gonna he wants everyone to whack the like button and i think virtual ice cream will start so we should start virtual soup as well i think that's michael pierce's idea all right uh so we see question is it possible to change so that the track does not turn black when i cut or mark it so this is kind of different behavior so like when you select an event um it will you know so when i cut it doesn't add it but if we select the event that it is uh so you know it you know it indicates that the event is selected very obviously by putting it uh in kind of a black background so migrating the background to uh to be black um i know nuendo has kind of a very subtle outline and a lot of nuendo users want uh this to you know for they want this behavior so it's more obvious especially in large projects what part is actively selected so but that's that's how it works in cubase and nuendo it's kind of just changes the outline of the event and a lot of people find that a bit too subtle so it doesn't look like it changes it changes it when it's selected but not when it's split okay so we have a question hi greg if i have a song with say 6 to 80 audio and instrument tracks and i'm ready to mix i want to lower the channel pre-gain i i want to lower the channel pre-gain by minus 3 or minus 6 db is there any quick way to lower all channels at once um you know so it could be like you know the pre-gain you know if you wanted to do this let's take a look in the mix console and say okay if i have these tracks selected and i wanted to come over here to the pre-gain okay so i'll open this up so let's say if i just enable q link that you could adjust the gain right there from the mixer so you could do that across all tracks so give that a shot so once again activate q-link you may have to go to the racks in the mix console and make sure that the pre is checked and then you could adjust a one and the same value will apply to all tracks and you could activate quick link by holding down alt or option plus shift so let me know if that works for you all right so we have just a question uh just saying a question from someone who opened up cubase yesterday for the first time congratulations and thanks for joining the live stream why do people have so many tracks every time i see cubase in action because they can you know so it used to be uh obviously you know people can organize things very differently so you know and when you have basically unlimited tracks you know and there's there's always arguments that you know beetles could do sgt peppers on four tracks you know if they could have had 128 tracks they would have and they would have longed for it you know so you know you have these options to do it um so you know you don't necessarily and some people think it's a bad thing but you could always work in a very minimalist manner uh with cubase if you wanted to go back to you know traditional analog studio paradigms you could still do it it's just your choice but you know since it's so accessible to have so many tracks people just choose to do it that way and welcome to cubase and thanks for joining the live stream okay so just have a question uh is it possible to duplicate a midi part as a reference edit the original midi part and see the same changes in the duplicated midi part uh i saw that same idea in logic so yeah we've been doing that since atari time so over 30 years so let's say if i have i'll just create a quick part here okay so say i'll just okay so we'll just look at this part and now let's say when i come over here i could just hit like control k and then i will we could have what we call shared copy so let's say okay now i have 10 copy so now when i move data on the first one here so let's say okay i'm going to select this one and i start moving notes around that we'll see the change kind of reflected in all of the other parts so i'll select all the notes here and i'll just change the pitch and you see how the pitch will change uh on all of the notes so you could just hit like ctrl k and then you could have you know shared copies as well so and i think if you hold down like alt and then maybe another modifier key that you could do shared copies that way as you copy so so just look up the term shared copies and documentation but yeah you could definitely do it see michael teams is catching up on the soft on these on the ice cream action for attendees all right so michael pierce has countered michael teams with a limited edition roasted asparagus mushroom and white truffle soup so we're gonna have ice cream and soup battles here it's great okay reading through different comments here okay all right you see youtube is being weird for people today sorry about that all right so you see a question uh in cubase 11 if i set metering in pre mode to make gain stage how come that pre-gain plug-in on channel doesn't take effect if i lower it uh show the same okay so let's say uh if i have a track and i'll just kind of put a test tone on to show this okay so we can think of that that metering mode as just really kind of like what is actually playing back from the file um so i will come over here and let me just turn the control room down and i'm just going to put it like a test tone generator in all right so we're going to see that we're at minus 12 db on our mix console here all right so when i come [Music] so let's say if we we open this up and we see that we're going to be at -12 okay so and i adjust my pre fader down so this is attenuating the signal you know basically um so as soon as i do this you know it's this it's what this meter is showing when we're in input you know so we'll come over here and i'll get to my metering so we'll say okay so if we're in input mode you know we'll take this and let me just all right here i'll just do it on this just to kind of on this particular track okay so right now um you know we see our metering our global meter settings are going to be set to input mode so it's not necessarily pre but it's the input signal here so if i come over here we have our input signal regardless of where my fader is regardless of where my gain is that hasn't taken effect this is like the metering of the particular channel so uh so don't think it was pre you know pre-fader metering think it was input metering so what signal is going into the channel so now when i place my metering position to [Music] post fader now we can see the metering kind of reflect those particular changes so let's say we adjust this down or up so you know again we're going to be monitoring the input not the not the pre section before it hits so it's not like a pre-fader type of meter it is an input meter so that's why you don't see the gain here effect when we're on imp on input metering so okay uh so just reading through comments um it says i have a client that wants to import some mp4 audio files for remix that we're doing but i can't find a way to do it is there a way to do that you know so mp4 is kind of a you know it's think of it as more you know it's it's maybe a later generation mp3 so there's going to be a number of tools that will convert mp4 files to wav files so you know whether you you do the conversion inside of cubase or inside of some other tool you probably will just have to convert it to a wav file so so you know just look for any tool that could do that and you could do it in itunes i'm sure as well all right we see charles k checking in i think he's in the uk all right michael pierce is going off doing tutoring hopefully see you back all right uh so you see regarding uh nuendo collaboration how do we link to collaborate with cubase users in other states who are not operating with within our land or when infrastructure most are uh on lower level daw then you know so you know if you want to do that a lot of people will just you know utilize something you know like using a dropbox so there's lots of people do that um you know but they will be kind of you know different functions you know for that's one of the differences between cubase and nuendo and you know has been since nuendo three so all right so we just see uh merry christmas from the swedish santa country lapland is there any guide to how to make a great master for the streaming services with cubase standard vst plugins or other that you could recommend you know so you know one of the things to just be very aware of is you know most of the streaming services will kind of be working with uh loudness units so you'll have luff's um so like as you're working if we come over here we go to the control room or let's say we click on the meter tab so like as we're playing back a particular project so i'll just revert this so say as we're playing back you'll could see kind of your control room meter and i'll just kind of bring this up volume wise so you know you could switch to a loudness meter here so a lot of different services will you know like spotify we could when we get to the settings you could set the um the reference level here to like you know minus 14. so clicking on the settings cogwheel so i think that's still kind of so at this point we could get you know more gain out of this so i could take my master fader up or if i wanted to run it through like a maximizer plug-in [Music] even if i want to get to channel strip so i just turn on the limiter that's a good level so that's kind of where you want to aim for your levels [Music] you know otherwise if you're kind of sending them not enough or too much they'll compress it up or compress it down to try to get it to work and then all the extra dynamic processing is just kind of working against your mix uh so just see hello is there a way to open very audio in the lower zones sure so all you have to do is let's say if i want to go to the base part um so you could double click and you'll see the lower zone here and then just click on the very audio tab and you can now just have the very audio editor directly in the lower zone all right just reading through comments okay so we see from michael teams uh hi greg uh question for some reason uh my bar on top of the session quits responding to inputs i have to click on whatever many times and sometimes still does not respond but we'll close but we'll close cubase so make sure if you have multiple projects open michael so let's say if i come over here and so let's say i just opened like a project here and you know and i you see me i'll do this sometimes where it's like okay i'm doing this and nothing is quite responding the way i think and it could be because maybe you think the project is active so right now if i try to you know do editing and i you know try to move something you know like a lot of some some functions may not make sense because the project isn't active or maybe another project is active so if i come here and say okay i want to add an audio track um you know i was like oh why is functions not working as expected to make sure that the project you're on actually has the little lightning bolt so when you see it look like this where it's illuminated with kind of a light orange background that indicates that it's active or you know if you don't see that when it looks like this it's inactive so some functions won't you know we've got one project active at a time so if you uh you know some things aren't working as expected but you still close the program is active but maybe the another project is the currently active project all right wonderful to see sable winters on the live stream okay so we have a question uh when having a track with lanes is there any way to see which lane is playing in the metering uh which is found at the right end of the track name greg okay so let's say you know if we have i'll just open a project that has different lanes okay so if you want to see which lane is actively selected you know um one way to do it is you know if you don't want to open up the lane so say if i have you know take four selected here in a lane you know one if you've done like a cycle recording you could see directly there in the name but also if we have the object selection tool and we go to the lower center you could see right here all the different lanes and this little uh dot and indentation here indicates kind of the active lane so you could switch directly here let's say let's say if i want to go to take two just go to the bottom center of the event and now okay i wanted to go to take five i could just come right over here and then click on take five so you could just kind of drop there uh in the lower center and then see which lane is is currently active so let me know if that helps all right and we have a natural segue from charles k saying uh could you go through how to use lanes for comping please okay so let's say um i have just a quick like a base recording here and i've recorded multiple passes and they're each in their own lane so we could look at this so this would be like basically take one two three four five six so now if i wanted to select a different take we could grab the comping tool which will be the tool that looks like a hand and now that we're here now i'm on take two that's good to take five and when i do this i can select that event and then mute the other events so that so i don't have to like select one and unmute five other events i could just click there and the other events automatically get muted so now if i wanted to take different sections of different takes we could also use the hand tool here so i could say okay i want to grab that take from there this one from here that take i like this and if you hold down kind of the control key you could listen to each take and say oh i really like this one instead and this one okay that was not good [Music] okay okay i want to use that one instead so now that we've done this we could select you know so again instead of having multiple tools i could just kind of you know come right over here i could extend like where that part goes to or truncate it and once that's all done if i don't need to see all the lanes visible especially on large projects i could just hide it and all those parts that are selected here kind of get moved to the top and we can see these changes directly on the top and now i could just only see the active parts of the different lanes that we've chosen to do comping on all right we see the pablo vasquez from galicia espana has made the legendary drummer has made the live stream and graced us with his presence so we just see uh hi greg congratulations do you speak spanish un poco so i i haven't studied since high school and i was many many years ago so but i can understand some of it um but it's i my spanish skills could be stronger but pablo could help so just a comment uh screen seems out of focus just me or is anyone else seeing it so let me know if other people are seeing it but a lot of times that could usually if it's kind of like a little blurry a little it could be kind of youtube maybe setting up the bandwidth for your internet connection speed so all right so we have a question from pablo uh how can i render seven tracks that i have already added edit it into one okay so let's say you don't want to give away the secrets uh the secret sauce to how you did all of your edits so let's say i want to take all of these drum tracks uh and i wanted to just uh bounce it down to one stereo file so so i get to select those events i'm going to go to my edit menu and we can do this in render in place if i have the project activated so let's come over here and so now i'll just proving my point from michael teams questions earlier so i'll go to render settings and now at this point i want to we'll see once we have multiple events selected and we have um all right so i'm going to select these events again so let's say i come here and we get a render in place go to the settings sorry about that okay so we'll go to our render place to render settings and we can say we want to mix down to one audio file so you may not see that if it's set to dry but set this to channel settings and then you'll see mixed down to one audio file and at this point i could just say render and it will kind of do its internal bounce and now when we look at the file here played if i did everything right so that's how you could do it i think i had them all record enabled as well so let me just turn that all off so just one more time so that's how you do it just kind of like that so you can just do a quick render in place and mix down to one file okay i think i may have uh have my chat window let me just jump back to where i was okay just making sure i think i got those questions let me make sure see if i didn't lose a chunk of questions all right so i think i got those questions jaz dude but if not if i missed a chunk of questions do you think that may have passed you passed your question just feel free to ask it again okay let's try to find my spot all right so just see question um how do i change the name of a single event without changing the name of the track so let's say you know here this will be called overhead l so if i come here we could just go to the description so at that point you could just go to the description if you don't see the description in there go to this little settings cog wheel sometimes the description may default to being uh unchecked so at that point you could change the name of the event without changing the name of the track okay so just see from jvi just as a metering visible in lane track itself continued uh open the lanes uh behind lane one that the metering also fires it like it does for the actual track hope that explains all right so let's go back to our base part here okay so let's say i open up the lanes [Music] okay so you see in behind all right so you see um metering visible and the lane track itself continued uh open the lanes and behind lane one that the metering also fires like it does for the first actual track i hope that explains it better okay so i see the metering of the selected event here so let's say if i wanted to take this track and this volume is low when i select it we'll see the metering level change to be very low and if i want this one to be really loud in comparison so when i select the particular lane it's kind of showing that so and as we do this you know this track is what we see kind of almost get graduated or promoted up so that's why you see kind of the metering reflect there's changes but if i misunderstanding let me know [Music] all right so we have a question uh is it wrong to put a compressor plug in on input channel or rather compressed later is there a difference in sound before or after the comp thinks you know if a you know we have input channels but and if we put a compressor on the input channel you know it works fine uh but that you know the the problem with that and the drawback with that could be that that file is kind of you know that is compressed during the recording process so that could be problematic for a lot of people because you know if you put the compressor afterwards at that point you could change the settings and it's not burnt in it's not baked in but putting an eq or compressor or plug-in on the input channel basically embeds that plug-in into the recording itself so you may not want to commit to the compression during recording uh and have a lot of flexibility afterwards you know sometimes people will will you know apply you know hardware compression or compression during recording and a lot of times people would do that as a workflow because it used to be very common if you go to like a 16 or 24 track studio that in the old days that they had two or three compressors so you're like okay i could put a little compression now because i may need those three compressors during the mix for other sources so a lot of people may have applied uh the compression on input but you have a lot more flexibility uh just running it on the normal channel but you know and sometimes during a live thing you know that if you're recording a live concert maybe a little bit of compression is good when the levels start creeping up and instead of clipping you can have a bit of compression instead all right um so i just see a question uh what is the best way to set up a midi bass guitar part to follow the chord track all right so the best way to do it is let me see if i have um a part here that might make sense okay so let's get this project open here okay so let's say we have a midi bass part um and i'll just go ahead and move the chord track on top of our midi bass part okay so if i wanted the midi bass part to follow the chords you know so you could have it um you know depending on the part itself so let's say if we listen to this [Music] so that's a pretty like active bass part so with that if i wanted to follow uh the chord track i would probably you know go to that particular event there so if you wanted to do a lot of kind of harmonic motion you know we're gonna you know do more like pen you know play more within the scale versus the root notes at that point i would go to the chords tab here and i would just say we're going to follow the chord track um so we could have it you know follow scales if it's going to be kind of a part that's like you know something like we what we're hearing here where it's going to be kind of a lot and let's say this is doubled with the late jorge classes so but so if it's going to be but if it's something it's you wanted to automatically kind of follow the root note of the chords like a more simplistic bass line i would as i come here go to the chords and i would just choose to have it you know for the voicings just follow root notes so you know depending on what you want how you want to approach it and what type of part it is if it's going to be like a boom boom boom boom kind of baseline something very simple and basic i would just have it follow the root notes but if it's going to be a lot of kind of you know really interesting more maybe perhaps more pentatonic in nature we're going to have more notes and more motion harmonically just choose to have it follow the scales all right just going through some more questions okay um okay just reading through different comments here okay so you see uh what is the best way to make a parallel bus over a group bus you know so if we wanted to do this so let's say i want to take the drums here and i wanted to do like parallel bus on that so i could come over here and let's say i wanted to put these to so i'm gonna add two group tracks [Music] and we'll make these stereo groups all right and i'm just going to put them outside the folder okay so now we're going to have so i want to take these drum channels and i'll select our drum channels and i'll go to descend and i want this to go to parallel one and we'll just set a quick link here so and i'll just put on absolute and let's put on parallel two and we're going to turn it on okay so now our drums are going into [Music] so my drums are going into that bus and this bus so let's say on this one i wanted to apply the compression so so i'm just gonna do a really heavy-handed compression and blend that with the so if we wanted to just have they're really compressed and i want to blend this with my non-compressed and kind of listen to that in context [Music] so that's how you could do kind of parallel processing over groups all right still reading through comments see graham witcher on the live stream thanks for joining and i will go ahead and post the uh zoom meetup i think i still have it in my vape in my for next tuesday for people to see in advance okay so we see a question from pablo and i appreciate pablo doing some translation for us uh how to add harmonized voices to a lead vocal okay so we'll come over open up project here okay so let's say i have uh like i'll just look at my piano part here and what i want to do is to figure out what chords are in the piano part so i'm going to select the event i will go to the project menu and we'll choose chord track and create chord symbols so now we can see our chords symbols laid out for us so as i kind of work on this [Music] all right so to click off so what i want to do is i'm just going to select like let's say that last phrase that the singer is saying i'm going to select that go to my audio menu and since we know what the chords are now we'll say generate harmony voices and we'll say let's do four harmony voices and so it's looking at what's going on with the particular chords [Music] so figure out what the chords are first because it's going to derive the harmonies from the chord track select the event and come over here and just generate from the audio menu generate harmony voices see graham richard just saying he just downloaded the lo-fi piano today for hallie and such a great vst and inspirational too and he looked and graham loved dom's video of it uh yeah so it is a really interesting piano library and make sure you get it it's free okay reading through we appreciate pablo doing translation today okay uh so we see a question from uh tommy or tommy um is there a terrible difference between live recorded acoustic drums versus vsti drums and if where um i think symbols and what what do you think so you know i think if you that it's it's easy to me you know recording drums is hard um so and i think that you know it's an interesting thing you know like for a long time you know like going back to the you know late 70s and early 80s you know people wanted drummers to play like a machine to be just perfectly dead-on uh and people made drum machines so you know it was dead-on so drummers learned to kind of play like drum machines for a while and then people kept hearing that all over again and felt that it was missing something so now you know people wanted drum machines to play like drummers so yeah in the early days i would say you know you know there's many classic records that you would never think are drum machine based or sample based uh even going back to ac dc's back in black you know it's all all drum samples you don't think of it as being drum samples but it is so i think with care with a lot of care you could make um program drums sound really authentic the early days like especially in the 80s and 90s you know like the drums weren't so hard to do but symbols were very tough uh and i i did several records where i had an electronic drum kit for the drum sounds but live symbols and that worked out really well because i had a lot of flexibility for editing and i could replace sounds for the song quite easily um so but over time i think you know especially when um steinberg came out with the lm4 and that was like the first like software drum machine that the cymbal sounds could kind of go on forever and kind of and that really kind of changed a lot of things so i think if you spend a lot of time and are careful with your drum programming and you you know be very meticulous about it and listen to it that you can make program drums fool most people depending on the part you know so there's some things that a drummer would do uh differently than a person would program it but a lot of times people are expecting to hear the drummer play like a well-programmed drum kit so it's kind of this almost incestuous relationship where you know and i feel bad for drummers and i experience it as a bass player too where people want me to play like a midi bass part and uh you know but it's almost the expectations that the drums and some you know the drums could play like a machine and the machine could play like a real drummer so and also once we record the drums and we do the processing and we do parallel processing and we you know work with the room sound that you get in a lot of you know recordings that to get that in a perfect ideal environment you know someone that's creating a high-end drum library like the simon phillips or the marco miniman uh libraries that we have for groove agent you know that's taken a tremendous amount of care to make every condition perfect so it could be hard unless you have a really great sounding room to make it you sound you know like what people expect it to so sometimes you may be playing drums and it's not what a drum sounds like to the drummer or to the musicians but the drums are playing as if they're a finished recording and you know we got this reaction we came out with the grand it was like a really high quality piano like uh instrument and you know people it's they're like oh it doesn't feel like a piano it doesn't sound like a piano it's like it doesn't sound like a piano to the musician but it sounds like a piano that's been perfectly recorded and processed so you could just put it in a track and in a song it's 99 finished so that's how a lot of drums are so you know if you're a great drummer like pablo does amazing drum parts all acoustic uh because he knows how to record his drums he probably has it in a very controlled room uh and those parts are phenomenal you could spend a lot of time to program it but with pablo being a skilled drummer he doesn't he could do it probably much faster than trying to program it but if you took the time um you know you could make the you know acoustic drums sound like you want to get to the end zone in a production and you could do it with midi drums as well so you know but people that you know as a musician you always want to try to do little subtle things that make a you know that accumulate that accumulate to a big difference to make yourself stand out so that you won't be replaced by someone just programming stuff so but you can get great results both ways okay so the i just see a comment uh is a zoom today so that's a kind of a pre zoom announcement so the zoom will be on tuesday so just want to give people kind of a heads up so we got more people involved all right so we see is there uh any way to use supervision to tell if there's a phase interference between my kick and bass um you know usually when you're doing like kick and bass usually isn't like such a phase anomaly but we'll show you some tricks that we could do um so just jump back to this project all right so let's say if i have supervision activated uh in my control room here so just all right so you know if i wanted to let's switch to maybe phase i have just a preset that i created and it kind of shows a lot of the phase meters so you know if i wanted to do this i could say okay let's look at uh my kick you know so let's say if i now was monitoring off of the stereo bus you know and let's say if i just take this one kick here and you know if you kind of are inverting let's go ahead and now i'll just take this and look at the base [Music] [Music] let's say i'll just kind of switch one of these to just our spectrum so you know if you wanted to come here and like let's say we'll see if i could take the two guitars here [Music] and [Music] so if you have phase problems i'll just take one of the guitars and invert the phase on the so you can see it visually here [Music] so as soon as i invert the phase on one of the guitars you see a lot more kind of red [Music] so you know you could use it for that but a lot of times you know it's between between kick and like an electric bass part that's not like a huge phase problem but you know like two different kick mics could be so okay so we see people want to keep the dongle yeah make sure that you know for a lot of people that are you know had issues with some of the licensing things you know we discussed earlier about uh some of the new dongle the new license management changes for three computers and not checking in every 30 days all right so we're seeing a lot of people really liking the lo-fi piano okay reading through more comments thanks for all the great discussion and again if you've learned something new make sure you do hit the like button see comment from nick the early drum machines used to re-trigger symbols on every hit so a lot of them still do okay so we have a question um is there uh a way to send from a controller any midi cc to another midi device through a midi interface uh eg midi fact uh 16 by 16 specifying the midi port and channel and cc code and value so let's say you know if i have a midi uh interface let's say i just have this going on here and i let's say i just get to my midi inserts and i'll get to my midi monitor all right so let's say as i'm doing this i'm just moving all right so let's say i'm just moving in my midi fader here so wherever you know so my incoming midi cc message here if i have this going out to a midi track right so at this point if i have this going out to a midi track on this particular channel now cubase will send this midi cc from my controller to this track that track sends the midi data out to whatever midi port and whatever midi channel that we want so any incoming midi data so if you just have like you know one little you know eight channel fader like a korg nano control or micro control whatever they call it and you just want to transmit you know mid ecc 11 7 and 1 you know from three faders wherever the midi track is sent to those incoming midi cc datas will be sent out to that destination so if you have a 16 in 16 out you know whatever midi ccs are coming in the cubase cubase then sends it out to the correct midi port and to the correct midi channel as defined on the track and if you need to send it to more just simply select more tracks by holding down the shift and those same midi ccs will be transmitted to multiple devices as well so you could just set it up like that see comment from jazz dude there are no virtual drums in jazz there's a lot of smooth jazz songs that would disagree with you but all right all right so we see a question from uno memento it says i have the old dongle the size of a matchbox that was put in the printer port uh maybe i don't need it anymore where's the cubase museum you know hold on to it just in case you know i still have atari dongles and other stuff just in case i have to pull up a project and it's not uncommon i have clients and friends that need to pull up projects from 20 years ago so but i'm sure you could probably send it to steinberg and i could keep it for support all right so you see capped energy music on the live stream thanks for joining we see michael pierce has made it back thanks for joining hope your tutorial hope your tutoring went well so lots of great feedback and impressions from the lo-fi piano all right so we see uh question hi i was wondering how do things like uh dvr monitor work with the control room innuendo uh in regards to atmos it'll take 714 input and convert the output to stereo for use with my headphones so i'm just i guess it's the deer vr monitor uh work with the control room so you know with what you have what you're gonna have is you know a so once you come over here let's say you know because you're gonna have the vst ambient decoder so let's say if i'm here uh let me just find a quick project to show this on you know what you want to do is to uh come over here and just say you want to go to the audio connections and let's say we have like your outputs here so like here i have a ambisonics bus and we're going to we could right click and we're going to set that as your main mix and come over to your preferences and under under the control room you want to use the phone's channel like for your headphones as the preview channel click on apply and then once you do that you'll see like the vst ambi decoder here and then you could just simply um you know monitor with your headphones there so as you play i could kind of have different elements and we could monitor them by normal [Applause] so you could have stuff like that going on if you have headphones on then it makes a little more sense to listen to a monitor um so i get to see uh did you see a question could you show the phase again comparing snare top and snare bottom so on that prod on my projects i don't have a snare top and bottom on that track so i have to find that particular track and find that audio file so so but i could have the project loaded up for tuesday and we could do that right uh so we have a question if you define an external plug-in is there any way to associate some kind of picture with the vst instrument display in the right panel uh sorry if i've asked before i can't remember so i don't know the way to do it you know and because it's actually taking a look at you know so if you're not familiar with it where if we get to the media bay and you can go to your vst effects and it's always handy to come over here and just look at the uh like a graphic for the plug-in but with you know with external plug-in and what it does to store this is you know if you go to insert a plug-in here you get this little snapshot and this snapshot will take a picture of it but there isn't a way for it you know to take a picture of the external effect they do get saved um you know let me just come over here i'll just you know you may i don't think it'll work but um i think if we come over here to [Music] um but i think it just kind of gets stored generically into the project window but i don't think it's designed to make the connection between uh the name and the external plugins so so i i think you might be able to put a picture in there but i don't think it's going to actually carry over for an image that could be in the media bay so okay so we just see from michael pierce can you rent out an lp an old can you rent out old parallel port dongles from the steinberg museum that would be rather cool so i get i get calls on that periodically so and composers need older stuff i always have a little stash still it gets a little smaller as i when i moved into my new house but i still have a lot of stuff all right um okay so did you see uh is there a way to having selected uh three different audio segments and different tracks and then apply eq to all of them just those segments so yeah show you that all right so say i just wanted to do an eq in all my drums for this part so i'm going to just select the range and we'll come over here to direct offline processing and i'll just do studio eq so let's say i just wanted to do that to all the drums and now when we listen to our drums i'll make this the active project that would help all right so now when we come over here so there's our eq that we've applied [Music] and then if i wanted to change it and say i just really wanted that to it'll now reprocess all those files with the new eq [Music] like you say okay there i also wanted to add a cruncalizer [Music] let's say get rid of the [Music] so now we just come over here so it'll be the grangelizer and say now i wanted to just get rid of the eq and just add the grangelizer i could delete those in any order at any time so just kind of select the regions and go back [Music] and that's all you have to do so select it and go to audio you could just go to plugins here or go to direct offline processing by hitting f7 all right so we just see a question could you show the phase using the overheads in the snare okay so let's come over here i think we could do that so sorry we'll take [Music] all right so let's say if i wanted to show so say i want to just look at my drums all right but now all right so say now i just want it to have the snare top [Music] so let's say if i wanted to [Music] so here you can see like which particular frequencies are and something else is kind of cool if you wanted to do it let's say if you wanted to just look at like the overheads is you could also sidechain each one of the bands as well if you wanted to do kind of different side chaining so we could just say okay for this one we want it overhead and i wanted to have this face scope i could have a different so if you want to add side chains you can do stuff like that as well so but yeah the they did a wonderful job with the supervision all right so we see that uh is it jazzy jazzy lamell still has his midx interface where's atari yeah so i saw on facebook axel hartman who designed that did the product design and for that he recently just posted a picture on facebook of it so all right so we see i recently purchased cubase pro waiting uh on the new version so i won't have to purchase a dongle uh really excited to see what's possible with these streams that's great thanks for checking out cubase and purchasing it and hopefully you'll get all sorts of great tips and tricks before you get started all right uh so we see how to fix problems with audio signal and routings when all audio settings are correctly routed thanks you have any ideas so a lot of times you know if there's audio routing problems it's probably you know i know it's easy to say okay you know everything is routed correctly um you know like one question that i saw recently someone was uh i think it was on facebook where someone had come to their audio connections here uh and then they had removed this the boss and then added a stereo bus again all right so or let's say let me just remove that and let's say we're gonna add a stereo bus here so we do that and now we go to the channel and now it says no bus so because the bus that it was defined to going out to you know isn't there anymore uh but if you wanted to share a project if you want to upload a project or just email me a project you don't have to send any files you could uh simply uh you know email me at club at steinberg.de and i can take a look at your project and see if there's any routing anomalies okay uh so you see from uno momento is it possible to convert a midi track to an instrument track other than render and place functions for example drag and drop or something all right so let's say if i have uh one way you could do it you know let's say if i come here i'll just do a new project just to show this [Music] all right so let's say i'll just come over here [Music] all right so let's say [Music] all right so i recorded that uh so if you wanted to do it by drag and drop one way that a lot of people don't realize is you could just uh kind of come over here to the sampler control and then take that midi if it's routed to an instrument track and just run it directly and that will create a file it will go into your sampler so when you go to the pool window um you know you'll see it in the sampler track but that's the file right there so that's a drag and drop way of doing it you know you can't necessarily drag it out as an audio file but if you want it to somehow just quickly turn that into an audio file you can just create it as a sampler track within the project by dragging it into an empty sampler truck there you see pablo is making a mocha for me now so i can smell it all the way across the atlantic ocean thank you pablo it's kind okay uh so jesse from trond um says uh hi greg on my request do you previously demonstrated um how groove agent symbol chokes with each note off setting can you show how the after touch and poly pressure symbol chokes work all right so let's take a look okay so let's say for all right so let's say um i don't have a controller that's hooked up that's let's see uh that does poly pressure but let's see if we can do after touch all right so let me okay so let's say if i'm here okay so it's i all right so when i hit the symbol here i get the note off but let's say if i do after touch so as soon as it is transmitting the after touch let's say let me just open up the midi monitor okay let's see if after touch is not filtered out let's see poly pressures i don't think my controller does it but all right so let's say okay so now i hit the symbol and we had this set to after touch then i press down again to choke so you can see as soon as i hit the symbol i get the note off message and now when i transmit uh after touch that's when it chokes so as soon as i simple do the symbol crash i'll hold the key down then after touch and that chokes it so click on the symbol and you could set different controllers for that so as soon as we so as soon as it receives after touch then it's automatically chokes to symbol all right uh so just see um let's see the cubase project amos moses is you always using your demos just starting to grow on me where can we purchase or download so i it was a project that uh fred corey uh had donated to me he was on one of the zoom meetups and he's often on the live streams as well so i think it was just a a project that he did in his studio i needed uh something for kind of quantizing drums at the time so fred was generous enough to kind of give me like a little demo project from his studio so i don't think it's commercially available and sometimes i try to go for projects that are not commercially available so that i could use them on youtube without youtube sending all sorts of cease and desist and copyright infringement notices so or you know basically having youtube run ads in front of my live stream so i'm not sure if it's available to purchase um but i could i can be happy i could check with fred to see i don't think he owns the copyright on the song i think it's an old like jerry lee song but i don't think that that was ever released so i'm not sure and maybe a fred is on he could comment all right all right so we see how do you get the cc 64 sustain pedal to follow note changes when uh within the track as you move it okay so i'll just open up a piano part that should have some sustain on it so let's say if we look at this and we want to look at our sustain okay so as i come here let's say i move these notes that i want the uh midi ccs to move with it so let's say if we go to um i think it's by default let's see if it's a preference um so i think it's just oh i know where it's at sorry so let's say into midi editor if we come here we'll see this little icon for auto select controllers under notes so now if i move this uh we'll see that the we can move the notes without the midi cc 64 moving but now if we turn this icon on so again it's the auto select controllers that now when i move notes at that point the controllers will move with the notes so give that a try so just that little icon there all right great to see best korean jesus on the live stream just just popped in just wanted to say hello and thank you for the help with the last live stream greg so yeah let me know if you still need help with that i think you may have said you got it figured out using the drawing tool all right so we see a question when will you guys release cubase native for m1 so you know they've announced that cubase 12 will be m1 native so look forward to that when it's released early next year all right so we see uh uno memento says thanks greg we now have 103 likers who hasn't pressed the like button so all right um let me just clear my throat yeah all right uh so i see a question uh is there any way to compare tracks to avoid frequency collision slash overlaps okay so there's kind of a cool function that you could use for this so let me jump to another project here all right so let's say if i wanted to compare uh like maybe you know different guitar parts or guitar and bass and i'll just so let's say we're here i want to take this bass part [Music] and we'll take a all right so what i want to do is i'm going to open up my base track here when we get to our channel eq so right now we're only this is our bass track but i could come over here click on this little icon here and we're going to say we want this to be our guitars [Music] so i'll just say we'll come here and this is the background color that we see in this color here is going to be the guitar so i could just [Music] i could switch to that and then click here now i can eq [Music] click here on the guitar part that i want to eq now [Music] so if you wanted to just kind of switch between the different guitar parts for eq or between different parts it's a great tool so once you're in the eq click right here and activate the channel uh eq comparison and then you could just switch and then you could just you know see the frequencies between the different eqs as well as you know switch back and you could change the opacity of the other one and transparency so so make sure you use that tool it's a great tool for you know two tracks are kind of conflicting harmonically between each other to apply to find those little points very easily okay just reading through comments all right so you just see is it possible to compare more than two inputs at once you know so something that you might be able to do is let's say if we wanted to compare more channels at once you know one trick that you might be able to do is using kind of the uh it's not an eq but more of the metering so let's say if i'm here so i could say okay i want this to say okay i wanted this to sidechain from [Music] so now we're only seeing [Music] like so say if i come here we could just sidechain from different sources so you could kind of switch between two different tracks but usually you know you find yourself kind of um you know fighting two tracks um and you you know for you know those harmonics and the frequencies all right so you know momento says it must be remembered at greg's salary depends on how many fans we have so one dollar for liking so so we appreciate i appreciate that but all right great for gareth to see gareth on the live stream so glad you enjoyed the bass line it was kind of a fun song you see gareth is happy that pablo is on so we have the whole hot mess ensemble on now all right so we have ibukun he's on from nigeria and his first time on the live stream so welcome thanks for joining um so you just see you know greg do you know how to compare several channels for overlaps collisions any plug-ins that can do it i don't know any plug-ins that could do it but you know if you come over here you know let's say you're just you know i mean you could see pretty easily you know so this is [Music] the only thing going on [Music] you know but you know it's it's hard to determine what is a collision other than kind of manually doing it you know sometimes the frequencies when they add up you know augment and enhance the sound sometimes they cancel out and diminish the sound so it could really depend on so many factors where it's not like a an on off type of function okay so you see a question if you have several different plugins applied offline how do you go back to change one of them if you applied the effect to a selection instead of the whole segment um so let's say if we're there and i wanted to so let's say i wanted to take um these vocal parts here so let's say so say i just want to do this um so at that point i'll come over here to my direct doc so we could apply it kind of globally so let's say i just wanted to do a delay on here like a quick mono delay just on that particular section so now we could listen to it hit the road go to rock gonna roll so let's say now i all i had to do is select the file and remove i could delete the processing to that file and the processing for that file is still completely independent so even though they're applied together uh they could be deleted and modified independently so now we'll hear the delay only on the one channel going to the top hit the road go to rock gonna roll gonna rock gonna roll and i'm gonna and let's say this one so even though they're applied together they could all be um removed independently so it makes it a very flexible system so we see jvi just as any update on cubase and windows 11 testing i ask because i got a microsoft message do you want to upgrade for free but i didn't dare do it so you know cubase 11041 is working great on windows 11 but you know obviously with cubase you know you know and it's kind of always the interesting things of like you know being cubase you know is a program that everything plugs into so you know make sure all of your audio interfaces your midi interfaces your display drivers make sure every plugin you have is is windows 11 but cubase is fine but you know everyone system has a lot of different components and many of those components may not be windows 11 ready but cubase is working great all right so we see uh when is cubase 12 coming out so they've just announced it will be sometime early next year so all right so we see a question what happened with the old and very nice houston controller so you know we did that in conjunction with soundcraft and i think it's been discontinued since 2002 2003 but you know if we go to your cubase now we could come still here and go to your studio setup and you could still add your steinberg houston controller so it still works uh i don't think the usb drivers work but you could just connect it over a standard midi connection so um so it still works in you know we i just saw someone sent me a link to one that was on ebay just last week i think or the week before uh so another question is there a vst instrument that replaced the old steinberg vsd virtual guitarist and electric virtual guitarist uh nostalgia mood so that team that kind of worked on that and brought that you know was done um [Music] by wizu and wizu was acquired you know it's kind of a very typical uh technology thing so they're acquired by another company they got sold to another company after that none of the original people i don't think are involved with it so a lot of those people are involved with you jam so if you wanted to kind of check out what they're doing uh so they have a number of different guitar oriented uh plug-ins so do you know check out you jam so just you jam and like they have the you know kind of in the vein of virtual guitarist so you could check that out okay reading through comments thanks for all the great questions and discussions okay um okay so we just see uh when you cut a midi container uh you often lose the first note because it's it is a little bit before the beat is there any other solution other than strict quantization all right so let's go ahead and create this scenario just a new project okay so let's say we all right so let's say we have a note that's starting just slightly before just take my snap off [Music] okay so let's say now i want to cut at measure three all right so it could be um so we saw that even though that note was there um so if you go to preferences and go to editing to midi there is a um a split midi events so when you have split midi events so if i don't have that turned on that now when i come [Music] here all right and we'll just make sure that this note is before the beat so if i split the midi event here and now move it you just see what that preference is so just make sure that you have that split midi events enabled uh and then that like as you cut and let me just make sure if it's yeah so just try to make sure that that preference is turned on uh see if there's anything else that affects that um but you could just so once again just come over here split midi events and then it will be as you do it'll cut and split that particular event see the baseline i added for gareth these thinks i added the magic note so it was kind of a fun one trying to figure out the chord just make sure something something that added a little bit of tension so let me see a question from pablo does greg have a fan club it's like i don't think so so my wife is amazed that people watch the live streams you know she's like people watch for four hours all right so we just see a comment maybe cubase 12 may have a plug-in that could compare several tracks you know okay it's my timeline jumped on me all right um so please how can i enroll for steinberg institution um so you know there are a number of you know worldwide different steinberg certified trainers there's lots of colleges that teach cubase so um but you know it can really depend if you want to just learn how to use the software i think you know there's a lot of wonderful resources on the steinberg channels and you know and tutorial videos and these live streams where you can learn stuff or if you want an actual physical certificate you know steinberg doesn't have something like that for end users but i think it's probably better just to be you know figure out how to use the software faster and better and smarter for your workflows all right okay just see some discussion of npcs i used to do lots of work on npcs in a day so uh so we have a question uh can you compare the phase of two instruments by zooming in on the waveform so yeah definitely so let's go ahead and take a look okay so let's say i want to look at the uh overheads in the drums so you know and there's always you know different times different kind of um you know at times confusion about phase and it's a term that's thrown around quite a lot so but let's say if i wanted to look at the you know and what it is is as you see kind of you know one file going up you may see that the other file is going down so here you know it looks like maybe our drums are kind of slightly out of phase so like what you want to see is as like it goes down below the zero axis here that the other channel is kind of doing the same thing at the same time so it looks like like up to here it's a pretty good phase but you know after a while it's not so if i wanted to just flip the phase you know you we could you know do stuff like that a lot of people will you know very meticulously come over here and just do ever so slightly you know moving the start position by you know samples just to kind of look at the phase relationship but if you kind of look at you know let's say even the guitars here you should get a sense that you'll see visually when you see the waveform going up on one if you see it going down on the other that would indicate that there's going to be kind of a phase issue so you know if you know what kind of what to look for that the amp the amplitude of the wave is having kind of a congruent or similar direction between the two channels then and if you see it kind of being the opposite then you have to then that would indicate a phase issue so and if it's a midi um you know if it's a midi part you don't really see it but you can see it on audio waveform okay all right all right so we're seeing pablo likes the ujm stuff says it's very cool okay reading through more comments here all right all right so we see question uh will cubase update the coding so we can add and remove effects uh without getting a cut on the audio so i know it's you know it's something that has been discussed and has been in uh like even different uh end user surveys for kind of a gapless audio engine so we'll see you know there might be some changes with that maybe with uh you know the you know with without the e-licenser so we'll have to see but i know that the developers are and product planning is aware of it um so you see just updated the cubase 11 pro and upgraded laptop to windows 10 all the cubase menus are empty i hear it's because there's no support for second generation intel processors so i i haven't heard of any of the uh menus being empty so i'm not sure if it's a display driver uh but i don't think it's to deal with second generation intel processors we'll see but pablo says he knows that issue so but i haven't heard of it maybe a pablo could share any information he knows of it okay story through some more comments here michael pierce makes a good point that we should remember the difference between phase and polarity inversion so as a proper audio engineer he's correct okay that's a great discussion all right so i think i'm at the end of the questions let me i know we had some questions that were sent in advance so let me get to those quickly okay so just had a question uh how to adjust the volume on an audio event and see the changes in the waveform okay so and i think here's some further discussion it might have been worse you know and also was wondering if adjusting the pre level here would adjust the would see the waveform uh adjust accordingly so that is almost similar to like an input meter you know like how we discussed the input metering earlier so but you know so this is going to take the source and then adjust the attenuation before before that it hits the channel but if we want to adjust and see visually the waveforms is just kind of grabbing the actual uh center handle here um but if you wanted to adjust it like from a particular uh event you could also just come over here and adjust your event volume handle and i think we could even do that from maybe even a generic remote um so if we wanted to assign that so let's say if i wanted this to be and let's see if we can come over here to command maybe it's under edit let me just see if it's i think might be able to let's see if i can find it in the key commands here so we could do like an increment or decrement uh volume so if i wanted to [Music] like decrement the volume i could just come over here so let's say i want to use this fader let's see if it shows up under let's see if we so now i could just use like a fader to just my select this just to increase or decrease volume if you wanted to have it set up so one would decrement and the fader next to it could increment so i'll come here let's make it fader 2 i'll learn [Music] and we'll go to command audio so now just hit apply so now i could take this and select this move the fader up and down so cool stuff that you could do with generic remote so you could do that so but you know if you said that's a kind of an easy way to work with that all right um so we had a question sent in from kerwin young um so in the score editor i'm unable to see the names of instruments on the left panel i can set it up for individual instruments uh but but as a group cannot and also it says when i export music file from nuendo and import into dorico i get a music xml person failed message i've got some pretty big scoring projects in the first quarter 2022 and i want to have these issues solved um so how does alex of estuary handle the exports from cubase into door codes i think he just uh standard midi files and i know that you're if you're doing um music xml you can think of music xml is more of the picture um you think of that as you know if we would make kind of a bad analogy maybe a scan of like let's say you scanned uh a a page of text um that would be like a music xml but if you had the data with like the actual text file or like a word doc that would be like a midi file so um so let's go ahead and give it a shot with music xml like as we play it so let's say if i want to look at um like my different instruments here so look at this okay okay so let's say i now wanted to take this score and let's export it as a music xml all right and i'll go ahead open up nuendo just make sure there's no differences and there may be some uh workflow benefits coming with uh dorco for situations like this as well but let's go ahead and import this into nuendo see what changes there are right i'm sorry yeah i just did it for cubase let me do it to dorco to make programs open here all right so let's say we'll have dorco open and i'll just do a new empty project and i will just come over here and we'll export we'll import a music xml that we just created all right and we'll get to your desktop so there looks like we have you know all the parts kind of laid out for us so let's say if we wanted to just look in kind of between the two parts that we can make that looks like it translated pretty well so um but i think you might be better off curling just you know working with midi files because you know that way you have all of your midi cc data is included and that's not going to be included in a uh in the music xml so all right let's go back to our live questions thanks for all the great questions that people have sent in you know okay let's jump back to our discussion all right so finding my spot where i was all right so we just see a question is there an interface that can handle that can track 32 audio inputs for band and orchestral recording so yeah you know um you know with with interfaces you know if you have you know a so if you need to do 32 tracks uh you know people will often use like a madi system is popular and also dante which could be run off of ethernet so if you get and dante is kind of a modular approach so what dante is it's a protocol developed by a company called audinate an australian company where they send audio information over in a ethernet connection like a network connection and you could basically take different interfaces or mixers and and feed that directly into over the usb connection and like into a laptop so many digital mixers i think even if you have um like maybe even a yamaha tf5 mixer will allow you to capture 32 inputs and send it over directly into over usb and there's also a dante option available for that so i think the you know the the tf5 i believe will allow you to do 32 tracks of recording as well so that may be a good option is you know at that price getting kind of a mixer that has dante or like a madi output is probably the most cost effective way to capture 32 tracks at once so you know a lot of orchestral recordings sometimes you know my favorite ones are always like two track two microphones so but all right so you see uh hi greg can you please tell me how it's possible to route two separate qmix outputs to headphones one and two output uh one and two output on the steinberg ur 816 interface all right so all you need to do so let's say oh come right over here and let me just revert to this as i probably destroyed it all right so now all right so once we have this set up we would go to the control room uh and we could set this up in go to your audio connections and go to your control room so i will set up you know let's say two q mixes so i'm going to come over here and let's add a q so we'll call this [Music] drums and we'll call the r1 vocals whatever we want to call it so let's just come here fox okay so what we need to do is to just set these up so that you know these are going out of outputs three and four outputs five and six uh now within those particular uh outputs we need to go into i don't have the ur 816 but we could set those particular outputs to feed those headphone outs so as we want to set up our qmix um and let's see if i can open up an axr i may have an axr one that we could take a look at let me just see if it'll open up without the unit connected may just kind of look at me dumb yeah um but within the particular routing scheme you could you know set which of those outputs are being fed you know which outputs are being fed to or feeding the headphone outputs on the unit itself so sorry i don't have uh i never actually received a ur816 but you could route it through that way you just see a comment this should be called cubase university except it's free and you get your questions answered so i just want everyone to be a better to be more comfortable and get more out of their cubase all right great to see kerwin and yang on the hangout from atlanta okay uh so we see how many people are involved nowadays in the cubase coding and where they locate it so the whole team is in um in hamburg so uh just to kind of give you an idea when you kind of look at these are all the people that are that work really hard to bring you cuba so when you go to the about cuba screen um so it's really nice for him to mention yeah on there but these are all the people that work pretty tirelessly especially during covid um to you know bring lots of great solutions so it's a it's a wonderful team of of people that you know do all this work to kind of make my job much easier so there's lots of people that are involved and make decisions and it's you know a huge project and they do you know a really amazing job with that so okay so michael teams is saying if you haven't whacked the like button now is the time okay so you see steinberg has probably 60 to 100 employees so i think the last time i was in hamburg it was uh they just topped 200 employees in the hamburg office i think so we see michael pierce uh just talked about 32 channels he's saying his entire system is transmitted over maddie optical to an army madi interface and they find it quite versatile so okay so i think um yeah so tim weinheimer saying the the cubase programmers are the steinberg legends that's very true and you know these people you know just so much dedication and you know insight into wanting to help customers i think they do a great job and you know they make me look like and everyone that you know gets to go off and show steinberg products they make us all look really good with their hard work so all right so i think i'm at the end of the questions you know it's a friday before a holiday so um but i saw we have 125 likes it's wonderful for a friday session especially like you know eight days before christmas um so see if there's any last-minute questions coming if not we could wrap up a little early and so but we'll just check it out okay i know sometimes when i do this it's also um takes a 30 seconds or so all right so okay so let me see that rkr still has cubase sx1 in the box yeah i saw my cubase atari manuals that were written by um written by ernst uh who founded propellerhead okay let's see i saw dom had a cubase emoji where can we download it so i'll see if we can if i can get the emoji from maybe we could share it in the in the zoom meetup so okay with that i guess we could wrap up a little early so again tuesday we'll do like two hours of live stream and a two hour uh zoom meet up uh we'll see how it um how everything kind of goes with that uh but looking forward to seeing a bunch of people and uh we'll wrap up a little early i wonder if we if i don't get the chance to interact with anyone before anyone else before christmas i want to wish everyone a merry christmas and great holidays and i really appreciate everyone being a part of this community i think i really look forward to spending two afternoons a week with all of you so with that and we will kind of um all right so and we will kind of start in early january uh and i just see a quick question from jazz dude says are you at nam greg so nam is uh was postponed from january to june so hopefully we'll be able to be there at in june but the namm show was postponed uh from january to june so all right so we'll see everyone on hopefully on a live stream on tuesday and then we'll see everyone hopefully migrate over to the uh zoom meet up afterwards starting at about two hours after the meetup so everyone stay safe and have a great weekend and we'll see you on tuesday thank you

Channel: Cubase

Views: 2,015

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: ZXs888xnexI

Length: 218min 40sec (13120 seconds)

Published: Fri Dec 17 2021