December 7th 2021 Club Cubase Live Stream

hello welcome to our december 7th 2021 club cubase live stream uh i'm gonna do a quick audio test and then we'll get started in just a couple of moments hello okay sounds like the audio is coming through fine my name is greg undo i'll be the host for the live stream today if you have not attended a live stream how it works is you can ask questions in the chat field or submit questions in advance to club cubase at steinberg.de when asking questions if you could specify which version of cubase you're running whether it's elements artist pro aile which version whether it's 10 10.5 11 or and which platform mac or windows that information would be helpful so as we go through the live stream i will get behind the questions live so i will be behind that so if you don't get an immediate response to your question i will get to it in chronological order and we'll try to go through each of the questions as completely and succinctly as possible so we will um so if we could try to refrain from asking the same questions over and over repeatedly that would be appreciated just kind of slows everything down all right um and i'm presenting from outside of uh in the united states i work for yamaha corporation of america as a steinberg product specialist and i'm working in the uh just outside of washington dc in alexandria virginia that's where i'm presenting from if you are watching the live stream live please feel free to introduce yourself and tell us where you're from uh it's always great to see people from all over the world in different continents uh involved with the live stream um we will have uh later tonight several hours after the live stream an index of all of the topics covered in the live stream that will be pinned to the top of the comments field but if you wanted to search for con like topics that may have been covered in uh previous live streams you could go to cubaseindex.com and jan from stockholm has been kind enough to create that website for us where you could search for all of the content so i want to give a special thanks to yon we also have another wonderful resource of information you could take advantage of is the cubase nation discord and jazz dude does a lot of work with that and we also have two people that serve as moderators when needed they're not steinberg employees they just kind of uh volunteer to do this out of the kindness of their hearts so i want to give a special thanks to agent k into jazz dude for their help with that in making it a better community so let's go ahead and get started okay so we have a question um okay so i remember one question that was on earlier about uh can we make uh set up chords in a chord track for power chords um so with power chords they're technically not a chord because there's not three distinct uh chord tones but um if you wanted to kind of fake it uh what you could do is just kind of set up you know so when we come over here we can say okay we have you know like c major and we have our different tensions but since a uh power chord which would be like a c g and a c a very typical guitar thing technically isn't a chord uh you may not see like a way of doing it now some people will notate it as like a c5 chord um and if we go to the preferences here we could just say and we'll go to event display and chords and pitches we could uh do a new custom chord and i'm just going to kind of make up a chord that we would probably um never do so i'll just say we'll make it a c major third fifth with a flat ninth and what i want to do here is um let's say i'll set this up and for the tension i'm just going to put in i think we could create a five like this and let me just put in kind of a different uh just a different thing so when i put in a c flat ninth like a major chord i would have this indicated as like a five chord so let's say if i come in here and we put in a c um flat ninth we could now have that chord notated as being like a c5 or a power chord but once again you know musically technically a power chord isn't a chord as it only has two separate chord tones but you could try uh creating your own uh chord setting in the preferences under chords and patches and say new custom chord and then you could kind of create a chord spelling that you want to indicate a power cord and have that done directly there okay so we have another question um could you walk us through the quantized settings i recently realized there's position velocity and length percentiles i guess there's more to than just uh swing then so when dealing with grooves let's say if i have a particular um just remove this track here so say i just have a little and i have my quantize panel and i want it to adjust my quantized panel so say if i come here and i wanted some notes to be like a higher velocity now when i drag this over like a particular part we'll get some different settings so one is we could have all of the positions so that would be the rhythmic positions here and we could store that now we could also have the velocity maintained and what the velocity will allow us to do is to if we save this um our position to zero and our velocity to 100 what i could do is just save the velocity scale of the particular notes and when i do a groove quantize or when i do a quantize with this particular groove here this preset that we see indicated that would not affect the position but would only affect the quantized value so you could have both the position and the quantize and we also see just kind of the length so when dealing with grooves if we wanted to you know not have the length affected you have the percentage for how long each of the notes would fall within a groove and also kind of a safe range and we could think of this as more kind of like almost like more of a soft quantize where you could say okay if it's within x number of ticks that we want this to we'll adjust our percentage up here and let's say we'll make this a hundred and make our velocity set to zero that now when we adjust our ticks we could say that it's not going to quantize um if it's you know within 34 ticks or whatever we have specified there so those are some of the settings that you can see and you get those settings like when you drag a loop an audio file or like taking an audio file and selecting create groove or dragging a midi event into the quantize panel all right so we see uh david griffiths who's on we see shane glad that you can make it from the uk with john costigan from kenosha all right so we have carl we have uno memento from finland we have benny from sweden thanks for joining robbie bowling from dallas neurotic nexus all right we have sable winters terminal nuclear war from serbia yan from cubasendex.com okay okay just going through different introductions here all right so you see soren on from sweden all right and okay so to see a question uh in editor window how can you open inserts with collapse tree and not expand so let me just add an audio track here so i assume it's maybe the in this window so i think it's going to open up um just you know so when you see the collapsed tree so i think it's always going to kind of open collapsed let me see if i i have this uh fold i have this opened expanded here so let's say now if i wanted to go back to this it may so you may just have to come over here expand tree let me see i don't think there's a preference for that but let's see if there's maybe a keyboard shortcut that's available but i think it may just uh default to [Music] the collapsed tree so that you could like more quickly navigate if necessary um i guess that if we made a and if you really hated that behavior you could create a new uh if we go to the studio menu to plugin manager so let's say if i wanted to make a new collection i could just click on the plus here we'll make a new empty collection and if i just drag out different plugins that aren't in folders that now when i wanted to come over here to my audio menu that the folders um won't be carried over but i think it's going to always open in uh in the collapsed view as opposed to the expanded view with that so sorry i'll pass that along maybe as a potential preference for the future all right so we see michael pierce checking in from a wet stormy and dreary united kingdom so hopefully the weather will get better for you we had 70 degrees here yesterday and chance of snow tomorrow okay so we have uh drivel productions from norwich in the uk and jeff sabelski from chico california chris from columbia south carolina greg from colorado all right we have jeff checking in from barbados all right so we see a question uh i want to use listen mode for listen mode for recording voice and uh and don't change the fader in the mix is this the right method i saw that you can only put a headset in the monitoring setting um so if you wanted to you know we'll just go ahead and show kind of listen mode here quickly so what listen mode will allow you to do and i guess you could use this for voice over stuff is um and you know we're gonna if we have it set up with a control room we could set the listen dim level because a lot of times let's say if we're soloing a track here all the other tracks are immediately muted but if we click on the l now we could just have the other tracks dimmed down so and that's just going to be for monitoring um so if you wanted to monitor to you know with the other tracks down while you're recording you could definitely use the listen uh mode for that but if there's any other you know potential workflows of you know why why you have that set up you could also do uh different control room mixes as well so um but that will that will work for that particular need all right so we have luca checking in from germany all right so we have a question can you please run through using hit points and audio warp to get a sloppy bass line uh wave not midi on the grid so let's say if i wanted to you know one of the things that you could do is if you just wanted to quantize the parts let's say if i just want to quantize this to eighth notes um so let's say if i just come in here into [Music] the sample edit so once i come here we could just quantize and then also just say okay so i wanted to now quantize this to eighth notes now when i hit the letter q you know we can just choose to uh quantize our events just like that now if we wanted to come over here you know if we want to do like a little more control over kind of the quantized settings what you could do is as we go to a particular event we could go to hit points and now that we set up hit points we could create what we want to do is create the slices or hit points so we can say okay i just wanted to adjust my threshold and we could also adjust kind of intensity so okay maybe i'd want it you know and we could manually add these and now once we're here we could say okay i want it to create warp markers so now if we go to our audio warp if you wanted to just kind of fix parts now the hit points have been kind of transitioned directly to our uh you know our hit points have been transitioned directly into warp markers and i could just adjust to say okay that needs to be a little bit here this is late this is early we could just kind of warp the different elements but we could also just choose to quantize the different events so let's say okay i want to quantize all these two quarter notes you know we could just kind of shift the different areas just uh as easily as kind of quantizing midi once we activate the audio warp quantize there all right so we have danny danny maher checking in from london he's a pro saxophonist and producer thanks for joining always wonderful to see john koskinen not sure if i introduced him earlier from kenosha wisconsin all right um so we see a question are there any plans for updates uh for cubase 11 before cubase 12 releases um so i haven't heard of any but generally you know like they don't announce any uh updates uh in advance um so if there were some stuff i would um you know you know i might be under non-disclosure agreement but you know i know that generally after a new version has been released you know there's a lot of you know sometimes hundreds of little minor things that may get addressed and so that there is generally always a maintenance release after the new version but i'm not sure if or i'm not able to recommunicate if there will be one before 12 releases okay um so we see a question is there very speed similar to logic x in cubase so if i wanted to uh just take my temp if i wanted to select all my files and put them into musical mode we could put these into what we call the tape algorithm so now as i come over here and i play i'll just take this out of listen mode so as i slow my tempo down here from 100 the pitch will change just like an analog deck so if i get 120 [Music] the pitch changes just like an analog tape deck doing very speed so all you have to do is put it into select all the tracks put them in the musical mode and use one of the tape algorithms and then you could do very speed and there's also a plug-in if you wanted to kind of have a little fun with this also and interact with it live you'll see this under other called loop mash fx so if we will come here we could just do so if you don't do like more like tape stop effects and stuff like that often used with djs and performance musicians you could kind of do it like that as well but check out just switching the algorithms to tape and then change the tempo all right so we see fred robertson checking in all right so we have dan freeman from atlanta thanks for joining the live stream dan being a part of the community all right so we see a question uh how to manually clear the peak level and the mixer to zero after the end of playback all right so let's say if i'm here uh and we see like as soon as i stop we have kind of our peak levels indicated so i think if we right click uh and go to global meter settings i'm going to right click just end of the meter area uh and then we'll see to meter peak options we'll just choose to uncheck hold forever so as soon as i stop playing that they will stay there for a couple seconds like three seconds and disappear so once again right click go to global meter settings meter peak options and then uncheck hold forever all right so we see john costigan number one's revelation drag and drop midi into quantize panel that's always a good good tip and you got your revelation early in the live stream so so we see jose bowsky i know he's a trained musician as an oboist but he's he's against the term power chord as well implying that it's a chord so stupid music theory we both probably were taught all right okay reading through comments and questions here okay so we have a question uh when using a piece of hardware such as machine how do you route a midi track so it could be recorded into audio in a simple way there doesn't seem to be a real-time way to record okay so let's say if i wanted to come here and i just have like a little drum kit that i wanted to play and i wanted to record midi and audio simultaneously uh what i could do is i could add a group channel to to the selected channel and i'll make this into a stereo group okay so now when i click on this it gets routed to my stereo group and at this point i wanted to add an audio track and for the input i'm going to select group one so and we'll just give it a quick name so we'll just call this groov agent audio all right so i can now come over here and i'm going to record enable uh the midi track which your machine would be on uh it's being routed out to the group the group is now being sent as the input for this audio track so as i go to record um i'll just [Music] and let me just zoom in here [Music] and then you could record both the midi and the audio simultaneously just like that so route it to you know right click add a group channel to the selected channels um add a audio track and set its input from the group channel and then arm the midi and audio track and then you could record on both simultaneously to in real time record the audio output of an instrument all right um so i see dr from turbo nuclear war dr rex trick sampler is awesome um so i don't know if that's the propeller heads one um but if you're dealing with a lot of you know rex files or with different grooves you know one of the things that you could do is kind of incorporate it inside a groove agent but you could also if you wanted to kind of slice up audio i could come here and let's just say okay i wanted to i have an empty sampler track here so i'm going to just take this audio file and drag the loop in and then just slice so now i could drag the midi information from the slice directly to the audio file itself so at this point we could you know have the different slices and have that automatically uh play back the audio so let's say i take a loop mode that would help so at this point we could just you know slice up the audio and have that uh automatically you know play back the particular files and be able to you know edit the particular samples quite easily with that so check that out so i'm not sure if it was a question or not but just wanted to show the feature um all right so i just see will cubase have the ableton link sync feature added anytime in the future so you know i can't really talk about uh future uh you know capabilities of future versions we'll just have to wait and see when it's actually announced okay okay so we have a question says uh i got cubase le with my sound card what's the easiest way to upgrade to full version of cubase um so you there is uh upgrades from cubase le if you go to you know it could be either you know purchased through your dealer or from the steinberg online shop so you could uh just simply do that and i think you were still within the cyber week's promo so take advantage of that and i think you'd save 30 off so but it's um we'll show you which one to get so let's say so let's see if we get to our cyber week sale and come over here and you could get this uh this one right here so if you wanted to go to you know full cubase probe you could also go to artist if you wanted to so this would allow you to upgrade from cubase elements le4 or higher ai essential studio so um that could get you into the full version so you could save money doing it this week while the current cyber weeks promotion is going on and welcome to the cubase family thanks for being a part of the live stream today all right so we see michael teams is on the live stream so everyone missed michael last on friday and his ice cream so welcome back michael let you know you were missed um so i just see greg did you remix or anyone so you know in my past when i was doing like studio work i did lots of remixes i think uh my first day working maybe my second data studio i did a big lisa stansfield remix in new york when i was working as an engineer way back when but done lots of remixes all right and we have pablo on the live stream so welcome from galicia espana alright so we see is it possible to mix atmos in cubase so currently you know we're going to atmos support is innuendo so it's currently not in cubase so if you want to do atmos work you know consider getting nuendo we can do uh different types of you know ambisonics included directly in cubase okay so we see from kyle kennedy's using cubase 11 to do a scoring competition including my new holly and raven piano from the sale thanks to greg and hold nation for invaluable tips good luck with the contest we wish you luck and thanks for the kind words okay so we have a question uh is there a way to duplicate a track with all settings and without recorded track okay so let's say uh if i wanted to duplicate this particular track so i think that there is a macro for this so if we come over here to macros there's one that says duplicate selected tracks without data so what we could do is i have this track selected with that particular loop and at this point we'll say okay we'll go to edit to macros and this is one of the included macros so we'll say duplicate selected tracks without data so we have that and without the data so once again that is one of the included macros okay so you see uh jeff sabelsky just saying uh using a chord track with guitar samples makes me a better more knowledgeable guitarist because i hear things that i hadn't thought of yet uh that incorporate some of the aspects into my own playing so yeah you know one of the things i like about the chord track is it kind of gets you out of different uh musical ruts you know because a lot of times we've all seen many guitar players who will you know play the same you know pattern of chords and chord progressions sometimes the chord track is really good for not uh allowing you to get stuck in musical reps so thanks for sharing your insight with that all right and we have cedric on from india from mumbai thanks for joining okay um so we see from benny it says when i send two tracks to one group channel and mute the parts of the audio track the sound still goes out of q channels even when i mute the parts of the audio track okay so let's go ahead and set this up okay so let's say we're gonna have um so i'm gonna send my two guitar tracks to a group channel okay i'm gonna send these two so both of my guitars will be sent to my group channel so let me just as we're doing this so we sell the group just gonna be our guitars okay um okay and mute the parts of the audio track the sound still goes out to q channels okay so let's say okay so let's set up a q mix here i assume so so come over here to the racks and make sure we have the cue sends turned on okay so now when i come over here um i'm gonna go to the control room and let's switch over to um our queue all right so it seems like when these are muted here you said you needed the parts but let's say if i mute the events they seem to not be routed so let's see if that is that behavior changes um so that seems to be kind of working as expected but let's say if i go to the routing here um so i have both of these set to [Music] the group channels but let's say if i have this set to stereo out and then use descends for the groups let's see if that makes a difference all right so i have this selected and let's say if i mute so it seems like everything is um kind of working as i would expect with that um but let me just reread the question again so it says when i send two tracks to one group channel mute parts of the audio track to sound still goes through the key channels even when i mute the parts of the audio track so it seems like everything is kind of working um as expected here so monitoring the q track when the track is muted or when all of the events are muted that if it's following it here but let me know benny if i'm misunderstanding or uh if i'm doing it a different way than you are all right so john coskins had two revelations with the duplicate track without files all right we see michael teams is in action with ice cream delivery all right and we have uh studio benny from uh from romania thanks for joining being a part of the community today okay i think i'm maybe caught up on questions but let me just check and make sure that my chat field isn't misbehaving on me okay okay hang on just one second sorry let me just jump back to my chat display here i have kind of broken out in a separate window all right so we see will version 12 have atmos uh even as an option and how does atmos work in nuendo with uh the monitor control section so you know you so you know i can't really comment on you know future versions you know future features in version 12 other than you know it'll have a new license management system and uh that it will be uh apple m1 uh native but that's kind of all that it's um that's doing and in regards to innuendo you know the monitor control section just you know we can go 22 channels wide i think you do 22.2 channels wide so but you could do your 714 uh you know monitor sections uh through the control room or have like 714 outputs whereas cubase is just limited to 5.1 all right so we just see a question uh hello what are you doing today so you know generally what we do with these is just kind of ask we answer questions that people ask so anything related to steinberg products and you could just kind of ask the question type it in and we'll hopefully be able to give you an answer okay we see fred robinson's taking his daughter's swimming so be back in a little bit okay jessa belski is smasher number 47 so if you do learn a new tip or trick or get a revelation please feel free to go ahead and um and hit the like button okay so i see greg are we prizes and codes uh used in contemporary pop and rock songs so i i think this might be with codas um so you know if it's gonna so i'm not sure if it's codes or codas but a lot of times you know people when notating will you know instead of having the same part um you know because one of the big expenses especially if you're doing a lot of notation work can be you know printing out multiple pages and if you print out multiple pages for uh you know 30 different musicians that can be problematic but if you could fit everything there's many copyists who prepare musical scores if this is what kind of the questions related to where you know if the parts are repeating over and over again instead of having a score that may kind of look like this when we see it on page mode where there's a lot of parts that may just be repeated over and over again where they may actually just choose to do like codas so that they could have less you know instead of printing out two pages they could have everything kind of done in one single page to indicate the musical form and that way the musical form if needed could be changed at the session so that's pretty typical um you say okay you know do the coda twice do this once and just as a way for uh you know the copy is to be able to communicate and get more information to the musicians uh without necessarily just repeating the same things constantly over and over again so let me know if i misunderstood uh but if it's kind of you know with codas you know they are used you know it may not be as popular but if you're doing if you're printing scores for musicians it's pretty popular all right great see graham witcher on the live stream thanks for being a part okay so we have a question uh from says newby here about workflow do some things have to be done in a certain order in general what things are done first before finalizing with other tools there's really no order you know most people will you know kind of a typical musical workflow may you know like come up with the idea and they may just play different instruments you know they may start off with like you know something like a quick drum loop that could be augmented uh you know with let me just set this so we can you know so you may kind of start off with a drum loop and maybe combine that with different drums come up with maybe chords um but everyone will have different ways of writing you know some people if they're writing a pop song you know they may write the lyrics first and then the music or the music then the lyrics so you know however you need to get to kind of the finish line but most people will you know choose to kind of compose to capture their initial ideas to refine those ideas to edit say okay maybe i want to do a modulation here maybe i don't uh i you could try these things out very easily in cubase and you know really you know you could do the full mixing all the editing all the tuning all of the effects that you would need come inside of cubase and then you know really the only thing that you might have to do is to master it or send it off for mastering some people will do their mastering inside of cubase and some people will use like steinberg's wave lab program as well which is probably the most popular mastering program so but you know there's no real particular workflow as long as you kind of you know get everything done and get to the finish line so all right all right so just see from uh from shane so i wish i could share information on future stuff uh so it's fair enough i'm thinking about making the jump from pro tools i hate dongles i was hoping version 12 would do atmos i wouldn't have to wait for nuendo to catch up uh thanks so much for your answer so as soon as it's out if it's in there we'll be able to show it to you so we'll show you all the new features as soon as they're out all right so michael teams wants people to hit the like button and we have tim weinheimer on the live stream all right so we have nick zaya versailles i'm not absolutely sure on pronunciation but good to see nick so we have a question uh will there be any templates for color coding tracks according to type of track in the new releases of nuendo or cubase pro so if you're doing it by type of track you know if you come over here to the preferences um you know so let's say if i wanted to go to uh color scheme like we can see track type default colors so you know if i want it to have midi you know like midi channels or instrument channels sampler channels group channels we could change the colors of these um you know colors could be incredibly personal for a lot of people so what you know if you wanted to do it like i want all my drums to be this color all guitars to be this color you know and especially if you're uh you know doing stuff like that you could come to the project logical editor and say you know i want to say we could uh we're going to the function we could say transform and i want to say media type we'll say container type is equal to [Music] sorry we'll just do [Music] so i could say i wanted to make tracks and we'll say stuff like uh name contains you know gtr or i'll just erase this so say name contains guitar so you know we could set up different naming schemes like this so if it says you know base bs bit you know bas um and then i could just say you know i want to set color to you know on all my guitar tracks to be yellow so now i get anything that has the word guitar or derivation of so i know people that will create you know naming schemes when they do mixing and you know typical naming things that they want to do this way they could kind of have cubase automatically color based on the name of the tracks when you're working on it so let me know if that's what you're thinking jeff all right so we have mark checking in from nairobi glad to have you back and he's smasher number 54. that's great okay so we have a question from shane uh says uh i use cubase 11 pro wind11 i got a new vst from korg uh when i add an instrument track the sound crackles on high notes and the low range uh using 192 bit at 48k what can i do to stop it um you know so one of the things you could do is you know you could see if there's going to be uh you know late if it's going to be maybe in the project it's the latency is too high so if you come over here select your audio interface so you're 192 buffer it sounds like so you know try raising the buffer and see if that um if that you know makes it makes the crackle go away so it could be depending on the project or other plug-ins that you have that you may have to raise the buffer um you know also make sure that the korg vst instrument is set up for i think you just said you're running uh windows 11 uh but make sure that that is compatible with windows 11 um you know i'm not sure sometimes it i there's many different virtual instruments that aren't compatible with version 11 but i would check that um see you know so see if you raised a buffer that would probably take care of it for you so you may just have to raise the buffer for that particular instrument or that patch you know sometimes you know one patch may cause a tremendous amount of cpu usage because of what it's you know how much it's doing um you know and sometimes a a patch you know you might switch to patch and see if that is if you still have the same result with a like maybe a very simple patch like a solo piano or something like that you know or if you have 16 voices stacked in your korg v sti that might be you know hitting your cpu hard as well so try raising the buffer and that would be the first thing i would try okay so we have a question is there any tool to make alignments in the phase difference of duplicated or double recorded guitar track um so you know something that you could do is we'll just come over here is maybe the audio alignment tool so let me just see if it's in my recent projects all right so we could show you kind of how this tool works and i have some vocals here that we could show you so let's say if you know we had two vocalists or two guitar parts [Music] and we wanted these all to be a little tighter there is this audio alignment tool that's built into cubase uh 10 pro and higher and what we could do is i'm going to just open this up and i would say this i want this to be my reference track and then i could take the other tracks as we come right over here and i could physically align them so i could align the audio directly there and as we listen to this now we could just go [Music] so that could automatically uh align the audio if it's kind of like you know two separate mics and maybe one of the mics is out of phase one of the things you could also do is from the info line right here you could just invert the phase of the selected event directly there so that's another thing if you have uh like one of the mics on the guitar track is out of phase just try coming right over here and switching to phase there but if it's two different performances that you want to line check out the alignment panel and if it's kind of just like two microphones of the same source try just flipping the face here and then you could do that also on if you go to the eq section on the pres there's also a phase where you could adjust the phase directly there as well all right so we just see uh question hi can you please run through the function that makes the notes we input stay in the pre-selected key and ignores the duff ones i've never needed it obviously just asking for a friend all right so there's a couple ways of doing this so one is to um like as i come over here let's add an instrument track so we'll make this a retro log okay and i'll just just find a different patch here okay so when we do this we could um have this set up directly in the key editor so you can say okay i only want to play so and then we'll have the scale assistant so at this point we could say i want this to only be an f major and i want to snap live input so now as i would record [Music] all right so say now as i record [Music] so i'm just hitting f sharp and that is kind of just being uh sent directly to the particular scale here so you know once we have this snap live input so you may have to create a part first and then snap live input and then that would automatically restrict it to your scale that you have set so you could do that now there's another area that you could do this on as well if you wanted to do this in a logical editor or there's an input transformer rather so we could do this globally or locally so i'll say global and i want to filter out and we'll say notes and we'll say value 1 transpose to scale and we could say okay i want this to be in e flat or d sharp majors and now as we input notes and this module is active it'll only it'll filter out notes that are unequal to d-sharp major so that's one way you could do globally but if you just double-click in the event and go into the key editor uh you'll you can see this snap live input directly there that's probably the easiest way and you can tell your friend it's a it's it's not so bad to do okay so we have a question uh i'm thinking of about upgrading my laptop does the external sound card make any difference to system becoming overloaded cpuis you know some audio interfaces run better at lower latencies you know so if you had a you know a usb 3 interface versus a usb 1 interface you know that would allow you to run lower latencies but usually most of the cpu is going to be related to plug-ins and you know and instruments that are you know instruments and plug-ins that are being used and a buffer size so it's not as critical if you're running kind of can you know unless you're running a really old legacy audio interface and some interfaces will free up cpu like the steinberg ur series you know has built-in dsp for reverb and you could print with compression eq or guitar amps running off of the interface itself so some interfaces will have onboard dsp like the steinberg ur series and that could help with that see jeff zubowski asks will there be a glut of used dongles for sale next year i think a lot of people will still keep their old dongles just for compatibility reasons and being able to you know pull up projects so i still lend out my atari dongles to people periodically junkie xl has some of my atari dongles currently i lent him for a project that he wanted to do in cubase and atari to get a 90s vibe okay so we have a question uh is this on elements i don't have all them gadgets so the the version that i'm running for this is uh cubase pro so but you could always upgrade from your elements to get all the cool gadgets and probably save you a lot of money if you instead of investing in third-party plugins and solutions okay so we have a question uh can i connect uh two keyboards at the same time in cubase example digital piano uh with usb and a midi keyboard with usb yeah certainly so there's no problem at all so you could have multiple midi devices on my studio pc i have two 16 in 16 out or i have a two eight in eight out midi port so i have 16 midi ports you know by usb plus i have you know different controllers it functions usb so there's no problem having multiple midi devices for inputs like a digital piano and your midi keyboard both running usb okay so we see greg i'm trying to figure out uh in the track what the specific parts of a song are uh from the point of view of classical music um so if you're talking about like form or the structure you know a lot of classical music is aaba as a you know typical you know form you could use like it's not allegro form you know a lot of pop songs will be intro verse course uh you know reverse verse course first course you know bridge uh and then maybe course course end you know is a pretty typical song structure so you know um but let me know if it's if you're talking about the parts in the form or parts of the different instruments all right so we just see uh can this do parallel compression so yes cubase can definitely do parallel compression so a lot of plugins will kind of give you a parallel option but if you wanted to do just a quick uh parallel compression so let's say if i wanted to go to this project and just do it on my drums i'll show you how to do parallel compression so what i want to do is take all of my drums and i'm going to just uh right here i'm going to add two group channels okay so we'll say we'll have groups two and three and what i want to do is to i'm gonna route all of my drums and i'll just turn on quick link here so say okay we'll go to our sends and i want to send this to group two and turn it on and to group three turn these on so once the uh quick link is turned on they'll all be turned on all right so let's say we come over here and i'll just turn on quick link and we'll set it to absolute so they'll all be the same value all right so now i can take my drums and they're all going through two different busses and this one i could just apply like a compressor [Music] so at this point i could blend in my original drums i could have my parallel group and we could blend these together to find that sweet spot so we're sending it to parallel processing paths so very easy to do all right great to see kaiwen franklin on the live stream okay reading through comments here okay so we just see uh if i record a song idea organically without this or question if i record a song idea organically without thinking of tempo or click track how can i adjust a grid to adjust a tempo of my recorded song idea or that i can build a song around it um all right so let me just open up a quick project so there's a couple ways of doing this so if you wanted to you know if there's like you know lots of different tempo changes like you know let's say if you know like in this performance we don't have like the click track has nothing to do with the performance you could actually select the midi a midi event or the audio event and we will come over here to the project menu and you'll see tempo detection and i'll say analyze and then i'll do an offbeat corrections and now we've made just a tempo map automatically of the parts so you could do it like that uh in this so now we could have a the musicians will actually uh like the grid is following the music instead of having to do it you know where we're fighting the grid in the musician now if you have to do it just kind of occasionally on a part you know there is a dedicated tool for this called the time warp tool so let's say okay this is our downbeat um so let's say let me just adjust my project setting here all right so you say okay you know this is um you know i move this over and once we have the time warp tool you know we could do this manually as well so i could say okay and i'll just say let's you know take my performance and we can do this in midi editors and this is where measure two is so at this point i'll just say okay and this is where measure three is and we could move the timeline with this tool and just align the you know redefine where the downbeat is of the particular file so the tempo detection kind of does that for you automatically but you could go through and just do it manually and you know once we have the time warp tool we just move the time warp and we move say this is where measure five starts right here and we could manually do that and as we do that we see these little numbers here the 145 143 146 these are all of these are the tempo indications so we can see that there's going to be subtle tempo changes there so you can play something freely in and then have the click track follow your performance quite easily using the tempo detect or the time warp tool all right so we just see uh how to best identify the chord progression in a track or individual tracks so if it's midi data you could just come you know very easily let's just go to this project here okay so you know if we have midi parts what you could do is select the event and let's say i have a chord track at the top uh go to project to chord track and choose create chord symbols and we could just kind of come over here and that will automatically determine it so there isn't an automatic way of you know listening to uh audio events but let's say if i wanted to just audition different chords i'll just put this into uh monitor track so if i wanted to be able to you know you could just kind of preview different chords here so let's say i'll just quickly add a like a rhodes part here okay so let's say okay so i have roads patched and now if i wanted to come here but usually you can kind of hear the midi output kind of audition through there so but you could have to kind of do it manually for audio parts but midi you could just uh come over and again go to the chord track under the project menu to create chord symbols okay reading through more questions thanks for all the great questions all right so we see mandy lane on the live stream all right so we have a question uh from i think it's beverage records uh hi there greg i have a question for you by the way i'm pascal from holland so thanks for joining um and uh and i'm thinking to buy a steinberg external interface but i already have um it says already have pro 11 and windows 10 so you know any of the steinberg interfaces any of the ur series would be a great choice um so but so yeah you know those are wonderful external interfaces great sound quality wonderful drivers okay uh so we have a question what's the best way to measure or create an exact amount of time in a bounced file in seconds example if an audio assets needs to be exactly five seconds long thanks greg all right so you know if we have like i'm not sure if it's like audio events that are longer than five seconds you need to stretch them um but let's say i'll just let's say i'll just take a loop here okay so if i needed to take five second uh intervals i'll switch this to uh my timeline here to bars and beats um so at this point if i want it to export you know like five seconds of an existing file so what i could do is set my left and right locators based on my you know so we have this automatically be five seconds long uh then i could you know if i wanted to uh export my left and right let's say i do an export audio mix down say five seconds and we will include this and we'll just create a new audio track so when i export audio it will now export just you know if i don't have that muted or armed for record i'll do the same thing sorry about that so now we could have a file that's exactly five seconds because it's based on the left and right locators but let's say um at this point if it was a little longer so let's say i have six seconds and i wanted this file to be so i'll do this okay so now this one is longer now if if this was the case i could say okay you know if i needed this to be exactly five seconds long and let's say if i needed to do this for you know a number of different files that are all different lengths you know we could you know so i could just come over here to my uh processes and we could say you could do a time stretch so we could say okay you know when we look at the time stretch factor here we could say okay you know our length in seconds is six seconds so i want this to be you know five even and then at that point it will automatically time compress that file to be exactly five seconds long so if i wanted to undo that to delete that particular time stretch now another method that you could do to utilize this is also just if you take the sizing tool you could just say sizing applies time stretch and we could just have that automatically snap and be five seconds long so there's a couple of different ways i'm not sure if you're starting from a longer file and and just making five second intervals and if you're doing that so let's say another thing you could do is just to set up uh like your cycle markers so let's say if i end a cycle marker i'll create a marker track here and i just want it to hit the letter p all right so let me just so if you if you wanted to break something down into five second uh intervals i could come over here um and i'll just add a cycle marker for five seconds and let's say i want to add another cycle marker for five seconds long and let's add another cycle marker that's five seconds long so now when we do this we could export audio mix down and then we could just export to cycle markers as well so i'll just call this and now when we export um all right let's create a naming scheme for this all right so now if i had different uh cycle markers that were set for five seconds each we could just export five seconds so there's a couple of different approaches depending on exactly where you're starting from with that all right great to see yanja or vanja marin joining us thanks for being part of the live stream um all right so we have one question says uh would you believe yourself to send the client a mix you had the chance to mix early mix only on headphones and in that case would you believe more the clean headphone sound or something like studio3 waves or real phones which uh simulates the studio space around you um you know a lot of times i find you know if you have to mix on headphones as long as you are kind of working with a lot of reference material um i think that may you know and if you know kind of what your headphones sound like to start with and you're familiar with the headphones you know i think mixing on headphones is you know mixing on any speakers or headphones is fine if you if you're familiar with them um so i would i would err i would kind of lean on the side of familiarity with the headphones and using different reference mixes on the same headphones as opposed to using maybe an external you know trying to put you in abbey road studio 2 or whatever you know whatever dsp you know i would you know because a lot of people listen to music on headphones i would you know listen to a lot of reference material i haven't worked personally with a lot of those they may be amazing but you know when i in and a lot of times i will work on headphones like when i'm traveling and i find that you know the headphones you know i really liked the sound of like sony mdr v6s but i found it they never translated i have the yamaha hp hmt8 i think or hph eights um and i find that those work and translate very well but i listen to them you know eight hours a week for live streams and i'm very familiar with their tone so you know i wouldn't you know if i had to mix for headphones and send it to a client you know if i was familiar with the headphones i wouldn't have a hesitation so you see the kaiwen franklin's very sleepy so all right so we see will nuendo run on nintendo so the answer is no you'll need a mac or pc for that i just want to make sure it didn't lose my space okay just finding my space my chat feel jump sorry okay so i found my spot sorry about that um okay so we have a question from andy lane uh with every new cubase update or release does steinberg have the functionalities uh and just adds more or removed some so generally you know it's always going to be adding capabilities you know sometimes with new operating systems some uh components like third-party components won't work anymore um so you know some of those may be removed over time as there could become obsolete and instead of doing quality assurance for technology that won't work on contemporary computers you know some features may be kind of grandfathered out but generally for the vast majority it's going to be you know adding features so okay reading through more comments you see uh just a comment says quantization killed the groove so you know you don't have to quantize anything but you know there's lots of groove quantized stuff that's been around it is available so all right so we see a question uh hi greg and all sometimes when i split the drum parts to separate tracks it creates lots of tracks called synth why is this please so you know if you're starting from let me just go to different project here so i think it could depend if you're starting from instrument tracks or from midi tracks so let's say if i have a pattern here uh and i'll drag this out so if it's on an instrument track and let me just get the correct window open okay so now if we start from an instrument track and we do the midi to functions um and let's say we go to the um [Music] to dissolve part you know at this point if we choose to separate pitches if we start from an instrument track it will actually load up more instruments so we look at our vst instrument rack here um you know we can see that we have a lot more of groove agents that will be added you know basically just you know each of the sounds will now get routed to a particular instrument so it's playing back the same sounds whereas if you do midi tracks it won't necessarily uh load up the different instruments so it's probably that you're dissolving it from an instrument track okay so i see from uh just john tobin saying i'm wrestling with vst connect latest diversion so if you uh if you let us know what part you're having problems with we could uh you know maybe take a look at it for you uh so we see from john tobin how do you send a question prior to the live stream so you could just send an email to club cubase at steinberg dot d e all right uh so i see just a comment lots of menu diving this is where ableton shines so a lot of times i you know there are obviously like you know thousands of keyboard shortcuts that you could utilize within cubase but a lot of times i choose to do the menus so that people could follow easier so that you know if i do a keyboard shortcut when presenting via live stream um you know you know i could say it but people may not know where to find a particular function so a lot of times um when i'm presenting cubase i may show the functions in the menus more as opposed to just firing off the keyboard shortcut and saying it so that's why you may see more menu operations as i'm kind of presenting in this particular format all right so we see jvi in the live stream thanks for joining all right and fred is back from dropping his daughter off at swimming thanks for joining again all right so we have from greg malik aloha windows is going to force me to upgrade my pc uh what should i look for in a pc to get best um cubase pro performance um so you know a lot of times you know think of you know the faster single core uh speed will be better you know having multiple cores is great uh you know so but error on the side of faster single core performance i think that will you know be better overall you know definitely get ssd drives um you know any of the latest ryzen or i9 chips for pc you'll be in great shape you know if you get 32 or 64 gigs of ram um you know that you'll you should be very happy i think jazz dude probably has a lot of um you know i know he does a lot of work with ryzen processors and he's had great success with that and there's probably a lot of information on the cubase nation discord for that all right great to see uh chief theodore from london on the live stream okay john costigan wants people to please apply quick pressure to the thumbs up button thank you okay so you see a question um just got away from me hang on let me just find it okay so we have a question uh from jeff uh is there a way to save export audio mixdown settings into separate presets for quick recall so in version 11 this functionality was added so if we come over here we can say when we go to our export audio mix down um so let's say okay i always wanted to be wave uh 24 bit 48k so we could just come right over here and you'll see file format you'll see preset that you could now name the preset so we'll say 24 bit 48k and now if i wanted to come over here to mp3 preset so you could just call these up and then add them into the export queue so just click right here and that's where you could say see the presets that will be automatically recalled directly there okay um okay so we see from sergio uh how do i convert an audio track to a midi track correctly so we could do this the uh for single voice parts like monophonic events uh so if i wanted to do this let me just import a track i'll just jump to a different project here so let's say if you want to do for vocal or like a bass part so we would do this through the very audio editor so i'll just come right over here we'll select very audio and then we want to have it do its analysis so we'll turn it on it's gonna figure out what the pitch is of each of the notes and at this point we'll see functions and we'll see extract midi at this point we will um put it on to a new midi track so i'll just come right over here and now we can take our baseline and as we listen to it so we're listening to the audio so you can see that it looks like it's translated very well so that's how you do it and again but it's not going to do for a guitar chords or piano chords or a whole mix stuff like that all right um so just see uh thanks greg that helps and i think this is with our five second question uh in this specific case i would need to add a five second tail to each of which is short uh one second or so so it ties into coding properly so you know if you need it to add five seconds of silence onto a file you know let's say if i have a drum loop let's come back to our previous question so say if i just have a particular loop um you know you could go you know if you need to add particular you know it may not do to like a fixed length uh let's see if we can you know we might be able to do this with a macro really quickly okay so let's say if i'm here um like i could my cursor is here and i want it to go to the event so if it has to be five seconds exactly where sometimes you're adding three seconds if you're just adding five seconds um you know we could come over here to the render in place let's say if i go to edit to uh render and place and we'll go to our render settings so here we could just add a tail size of five seconds but if everything needs to be exactly um five seconds and let's say if i'm here um so let's say i have my master time set to seconds here okay so let's see if we could create a macro to do this okay so we'll come over here to show macros we'll go to new okay let me just try from the beginning here okay so we're gonna say okay so we say move insert cursor to part start okay and let's add that i'm going to just go ahead and test this real quick but let's see if that will so what i'm trying to do is maybe move the uh cursor to here and then nudge it five seconds and then bounce the event so let me see if i can figure it out i may have to do it offline yeah if you want to email me but i think i could come up with a macro if you want to email me to club cubase at steinberg dot d e um but i think that we could you know maybe move uh this and then nudge it by five seconds and then set a uh you know set a um set a cycle marker and then maybe do a bounce selection so but i could play around with it more if you want so just email me at club cubase at steinberg dot d e sorry about that all right so i just see uh greg i just feel so bad that tom has been selling his equipment what is your thoughts on that so i haven't followed it i think just with tom hulkenberg um if you've been to tom's house he has a lot of equipment i mean it's kind of like the world's greatest music store vintage music store so um i don't think he's you know i think he probably just has a lot of equipment that he can't possibly use maybe so i don't feel i wouldn't feel bad but you know he's you know it's a treasure trove of instruments every time i've been to a studio it's great okay so we see question uh why don't i see the chord notes in cubase when i used a chord feature from my native instrument control keyboard i only see the notes i press instead of the chords so because probably when you are actually have it set it's not transmitting the chords uh and it's only transmitting that one particular note so it's going to be just a function of your controller that's doing that so maybe there's a setting i don't have a native instruments controller but maybe it's a setting that those would automatically be transmitted as opposed to maybe just you know i'm not sure if that is working on every instrument or only in particular native instruments instruments that are working that so uh but you know it seems like and you could determine if it's transmitting so if you go to like a midi track here or an instrument track you could go to the midi inserts and go to uh midi monitor and then you could actually see just exactly what your keyboard is transmitting so it's not cubase uh you know filtering anything it's just what is coming in from your midi device and i bet you only see a single note that the native instruments controller isn't actually transmitting the cords out of its midi port okay read through different comments okay so we see a question how do you get groove agent to introduce different fills in patterns okay so let's come up i guess we could just go over here real quickly okay so a lot of times when you're um just doing let's say if we have our patterns here you know we could trigger you know like let's say in this most of the groove agent s e patterns we could actually just come here and you'll have these blue ones they're just going to be just patterns so like and if you have the full groove agent many of the patterns will have eight different fill patterns but you could also just say when we come over here we could say autofill and we could say okay we want this to be and that will just randomly every four measures play one of the fills randomly so if we just have it kind of on so at the end of the next four measures or eight bars where we have set or you could trigger it manually you know because these will all respond to different midi note messages so we can see that this is a sharp 0 b 0 a 0 g sharp 0. so you could trigger the fills from your midi keyboard or just have you know you could just again have the fills just kind of be random so it doesn't do it and by a set number of bars as well okay uh so we have a question can you please show me how to send eq settings from groov agent 5 to nuendo 10 project all right so we have nice segue since we had groov agent just open so let's say if i'm here and at this point we have we have our mixers let's say if i have eq set on my kick so say okay i wanted to come here and let's go to my snare so we click on let's say our snare track here and say i want to make this like obnoxiously bright all right if i wanted to take those particular eq changes we'll look at our mixer here so we go to our mix console so what i'm going to do now is right click and say export mixer and effects to cubase and now that we've done that uh as we want to look at our say our kicks we could see that the eqs that we applied in the kicks and we're going to add a lot of high end into snares have all been translated directly into the the nuendo or cubase mixer so once again from the actual patterns we can come over and just right click on the agent itself and as we look at the agent just right click and say export mixer and effects to cubase okay so we see question uh how do you control feedback in the system one of my synth sounds set a feedback loop that didn't appear until i exported it tracking it down was difficult have you ever had that happen um i haven't had that happen i you know sometimes you know depending on the effects you know there are delays that can kind of go on and on and just kind of you know purposely regenerate so if you have a delay on a delay something like you know you could create it in mod machine or the multi-tap delay that if you really uh spent a significant amount of time that you could you know create a perpetual feedback loop when you have you know delays feeding reverbs into you know another reverb into another delay into an eq into a flanger that could create kind of feedback scenarios if you have it on kind of an infinite loop so um but that would that would be kind of where i would look at first is maybe a delay plug-in um and then see but you know generally you know um that that's the only time i've ever kind of created like a a delay you know like a feedback loop okay so i'm not sure this question um is um directed to me or someone else but it says do you use the l button in the mixer so if you have this kind of in conjunction with um you know with a particular source you know and while utilizing the control room you know it comes in really handy so what the l button allows you to do let me just revert this sorry about that is just to kind of instead of muting the tracks when you solo a track what the l button is going to allow you to do is just to allow you to dim the other tracks down by a specified amount as set in the control room and if you don't see this amount click on the main tab here and then you can see the listen dim so as i wanted to come over here if i just wanted to listen to the kick louder instead of soloing it everything is muted but now i could just that i can hit the l button [Music] and that track will be more out front and will be the air tracks will be dimmed by the amount set here so it's really nice to sometimes hear something in context or you say okay what's going on with the snare is that what's bothering me or is it this hi-hat or overheads so that's why that's how you could use the l button which would sends it to the listen bus for that all right we see that gareth is on the live stream so we have the whole hot mess ensemble present great for you to be able to join us gareth all right so as you see hi greg i just finished rebuilding my scoring template innuendo is there any function for signing multiple track pictures at once it's quite tedious having to do one at a time so i think that there might be a trick um with this let's say i'm going to go to the full screen mixer and do it from let's see if we have our pictures turned on here and i'm going to turn on quick link so let's say i'll select all these let me see i thought i had done this okay so i'm just holding down the uh okay so i put these all selected them all and held down control or command and double clicked and then you could change multiple ones at a time so give that a try so just come here so i don't think you could do it on the main project window but in so just control double click in the mixer and now i can say okay this is all drum set and then you could do it just like that so give that a try kerwin great to see you on the live stream i hope you're doing well good luck building your scoring template okay so we have a question uh when i go to new project and then hit empty i want to have a way whereas it can default with my settings as opposed to a straight empty project without making a template is that possible um all right so say i come here new project um so let's say i define my folder and i come here so you know some aspects will be you know globally remembered like you know some of your routings your control room but if you wanted to have any tracks in the project or any instruments loaded that would you know that would have to be stored in a project or in a template so if you could let me know if there's a particular um so but you know this will retain like you know your audio routing your you know which interface you're using it will retain i think it will carry over the project settings so if you go to the the project setup those things are kind of maintained from the previous version but um if you let me know if there's a specific reason that you don't want to start with a template because it's really kind of the intention of it and it's really just you know one one more mouse click if that all right so to see a comment says it'd be great to see preset saving and export audio mix down to include saving all the settings such as real time export naming convention post processing etc so i think you know at least we have the ability to kind of save you know file format you know because we have i think as they did a lot of research in it you know realize that especially our composer clients have to deliver you know oh deliver 16-bit 44.1 24-bit 44-1 24-bit 48k 24-bit 48k with uh you know non-interleaved uh and you know all split you know deliver an mp3 mix of just this so those were the most common things but i'll make sure to pass that along okay so we just see a question uh is there a way to have an auto color set up for groov agent se5 pads do i have to set up the colors individually each time i try to make a kit okay so let's come over here so i think if we select multiple pads that we could you know set the color for you know multiple pads so if we have like all these pads selected you don't have to do it individually but if they're selected you could come over here and just you know choose so if i wanted you know just to right click and set colors so i don't think there's a way to automatically um let me just re-read again so to auto color it but you don't have to do it individually as long as they're selected but let me see if there's a way to [Music] let's say if i select all these so i don't know of a way to kind of automatically you know increment color choices uh between them so you know you could do it like that and then but you could you could change the color of multiple selected files pretty easily okay so we see uh please show how to use the bank and program selector for external midi instruments especially high bytes and low bytes i get this question quite often it's an annoyance of midi stuff so let's say if i come in here um all right so once we have a midi track here we'll set our midi channel so let's say just start with the without it mapped to an instrument so all right so once we're here you know when we come here we could use our bank selection here and our midi program change now there could be a lot of devices that may have patch scripts already included some of these might be older i realize but there's a lot that are still valid so if you come over here to your midi device manager you know we could say okay i want it to have uh we could install a device so let's say okay i wanted to go to uh my 05 rw i tried to get a new power supply for mine all right and then we could open the device um then let's say if i switch this to my 05 rw [Music] if i had this it will say it's going out of this particular driver so i could see programs combinations and drums let's say i want programs and now i could see kind of all of the patch name scripts if you need to like switch the msb lsb settings depending on the instrument you could come select the event and go to the list editor and we could choose to insert and let's just choose let's say okay our you know control change uh so i wanted to now insert whatever it is a controller so say i want to do you know my bank slash select msb and is it my lsb so if you needed to manually put those values in you could just kind of do the bank select msb lsb messages so you could insert that just choose the controller and then be able to insert there so give that a shot so would you say comment yeah it's just like a kid inside a candy store if you're in tom's studio it really if you're a gear person it's great he has like oh he's like and he's like really into kind of late 70s early 80s ivan has guitars um so it's uh yeah it's it's real you know i love kind of places like that in the united states you know um we have a place called it's often called hog in rochester new york called house of guitars which is kind of legendary you know you could just you know just an entire huge storm just you know vintage and used guitars and just stuff that hasn't been sold it's like you know it's like a music instrument you know archaeo archaeological uh site is which is wonderful i love places like that uh so we just see a question from fred uh what have you asked santa for this christmas to me um i i think i want to get the getty lee basebook but that's what i've asked for but i would i have a hard time kind of coming up with uh christmas ideas uh i have a lot of stuff already but you know it's i'm just looking forward to spending time with my family and having some down time from work so but you know i guess life is good if you can't come up with your christmas list but all right so we see michael pierce has made it back all right and we have 100 likes thank you everyone all right so we see kaiwen franklin's getting a coca-cola so all right i see the email about the five-second macro coming in so work on that and see if we can have an answer for friday okay my chat field jumped on me so let me just jump back and find my place see that people want a pablo vst so that'd be good pablo have to do his own groove agent kit okay see fred robinson come back to pick up his daughter from swimming all right see uh just comment to moby has many drum machines yeah i got to go to a studio once in new york it's pretty interesting all right so we see from a question from david griffiths if the is usual upgrade cost of 89 artists 89 pounds rather artist 10 to rs 11 likely to be around for that for 11 to 12. i've got artists but i'm wondering if upgrading to pro now for sale price 140 140 pounds is a better option so i think getting you know taking advantage of the of the cyber week sale uh knowing that you're going to get the you know version 12 free is probably worth it so think of it you're getting two updates for not that much more money and getting a lot more functionality so because i think it's a great opportunity okay so to see kind of a further clarification for the project template versus kind of starting off just as for the empty project template as you discussed earlier i want to have it with somewhere i can have certain plugins in my input uh my input routing that's it so you know i believe that should be saved within your um within the template as well so okay so we have uh just a quick question um hey greg shane in nashville here is it possible to assign a controller for the waveform zoomer to quickly zoom in out of the waveforms when editing so uh let's say if we have good to see shane all right so let's say if i have this and i wanted to use a controller to to zoom in and out we could set this up in um go to your studio setup to generic remote so i'm going to just come over here and we'll say okay i'm going to move i'm going to click on learn and move my controller so i'm my knob i'm using is controller 32 and what i want to do is to set this up for command i think and let's go to zoom and then we could just come over here and i think we could just use it to zoom in so at this point i could just move that controller and we could zoom in i could use another controller for zoom out like next to it but we could just kind of as that controller comes in we could just zoom and let's see if we could maybe if there's a zoom in zoom out option yeah so you could set up one contour for zoom in and another controller let's say for zoom out so let's say i'll just come here to command zoom so now i could take that zoom zoom out so you could set that up pretty easily just so then map to other controllers as well all right and we also see you can just click comments says really enjoys the streams that's great hope they're helpful for people all right so we just see a question uh how to use melodyne with cubase so i think most people i don't have a license of melodyne on my system uh but i think what most people would do is just come over here and you'd go you know and run it under ara2 so you'd go to extensions and then i have like spectral layers here but we could now come over here and launch you would see melodyne as the option and then you could launch directly inside of uh inside in melodyne would launch in this particular editor so you would just go to audio to extensions and select you will see melodyne show up right there um all right so we see is it possible to transpose the chord track by an octave okay so let me just switch to [Music] so you know the chord track is going to be kind of independent uh you know so let's go and take a look at it here quickly but i think we could transpose we well we don't transpose a chord track that we could transpose kind of the voicings to sound an octave higher okay so let's say i think i have like a rhodes patch here all right so now at this point i wanted to put in a chord track okay so okay so now when i do this let's um select kind of the roads part here and go to chords [Music] all right let's try the maybe the chord track here so let's try set up voicing all right so now when i come over here we see setup voicing and we get set the note range so let's say i wanted this to be the lowest root note to c2 and then we'll make this e3 so now as i so once you again just kind of come over here and when you go to on the chord track i was mistaken but go to the chord track and go to set up voicing then you could adjust the lowest note here to wherever you need it to be and then that will automatically reflect in what how the chord is sounding so okay all right so we see a question from tim uh hi greg can you analyze chords in an audio event and extract the constituent notes played a bit like the midi extraction from a monophonic source but just to find out the notes played so currently there isn't a way to do that in cubase i think if you have melodyne that it could offer that functionality or it could kind of do the you know figure out and break it apart uh like polyphonic materials some people have had different you know results with it of quality so it's you know not so easy with you know chords and dealing with harmonics but you know if you ha if you wanted to do that you need to use a tool something like melodyne i believe so we see michael teams is saying he likes ivana's guitars yeah i think uh you know i think uh tom or junkie xl has a lot of the early ibanez kind of les paul copies kind of like ibanez musicians those types of of uh that era okay um so it just says uh see from benny it says it don't work for me to send uh from groov agent 5 to nuendo it don't show up so then we just open up nuendo just to make sure here so let me just and i think this only works with uh like acoustic agent kits and not beat agent kits so uh just be aware of that so so if it's a beat agent kit i don't think that functionality uh is not utilizing kind of the underlying cubase engine so let's say if i come over here to the mixer so it could be that but let's just add lots of low end gain on our kick and we'll go to our snare add lots of high end and now right click and export mixer and effects to nuendo so as we look at our kicks now we can see the low end added here and it just so it looks like that's kind of working as expected but again that's only with the acoustic agent so beat agents uh you know don't carry over it's just the acoustic agent because it's kind of utilizing the same technology as the effects inside of cubase so maybe it's a beat agent kit all right so as you see uh greg there's a cord part on the keyboard very audio only extracts monophonic parts but is there a way to turn the layered keyboard into a midi keyboard so it makes a full chord track from out of this um so currently you know if you know if you're trying to get um just trying to reread this it's a little confusing to me but i could be just dense today so you know the you know so very audio is going to only deal with um you know it's only going to deal with you know monophonic sources so if it's going to be like a layered keyboard part so it's not going to be able to turn that into midi so i thank nick's for nick for reminding everyone to use the hashtag save the dongle so uh so you see is it possible to re-upgrade my copy of 11 to 11 just so that i can get 12. um so no clever way that i know of to get the free upgrade but you know you'll probably love what you have in version 12 so much that would be such a bargain for the update okay reading through comments thanks for all the great questions all right so we have brian sawyer checking in from wilmington thanks for joining see lots of people encouraging to do the upgrade to pro all right so we see uh steinberg ur 24c comes with the software and licenses of cubase uh cubase ai cubase le dsp mix fx can i use it with my pro 11 for windows 10 pro certainly so you know the intention is that you know if you got an audio interface that you have kind of a starter version of cubase just immediately to work with um but you could definitely use it uh you know it's a separate uh it's a separate installation of cubase that you know so if you installed it your cubase pro is perfectly intact it doesn't replace it or anything like that and the uh the dsp mix fx is going to be just allows you to control like internal dsp parameters inside of the unit you could do it in the software as well so inside of cubase if you choose all right so we just see uh organizing templates is not optimal uh you can put templates in subfolders but they uh all templates and category list for new project and you can't create new categories um you know you could always just you know one other thing if you wanted to have everything categorized that a lot of people do is just come over here and you can say okay file if you wanted to have a lot more flexibility with your file management and the concept is that the templates go into a location so that if you go from cubase 10 to cubase 11 that it's automatically carried over and cubase knows where to look and it's consistent from version to version but if you wanted to come over here and choose to import tracks from project if i wanted to just look at let's say if i go here i'll just go to documents first sorry so let's say if i come over here i could just kind of start off and you know one other way is just to say i want to you know import all the tracks from the project and and um and i'll say don't import the events in parts or automation but import the channel settings so you could uh come over here and just say okay i don't want to import uh i just want to import the channel and inspector settings but not the event support or not the automation so you could very easily um just kind of have that all laid out for you so that's another method if you wanted more flexibility with the file management but again you know the file management is to make it so that your templates don't get sucked away in a folder accidentally all right so we see that benny got his uh exporting to nuendo from groove agent working so it's great thanks for letting me know and wonderful to see mark rabin on the live stream okay my chat field jumped so just trying to find my spot sorry about that okay um so you see uh hi what meters should i use for setting levels for podcasts um so probably i'm i don't know you know i haven't done a lot of stuff with podcasts um um excuse me one second um so i'm not sure if there's a particular you know overall loudness if podcasts are using you know so you could have kind of you know the full you know i'm not sure if it they deliver via db or via loudness units um but you know if it's via loudness units like if you see like a l-u-f-s um i would use you know the loudness scale here or you could use the traditional metering uh if it's kind of db based um but i'm not sure if there's a standard really you know i know like for streaming platforms it's usually like -14 lofts for broadcast at least in the united states it's around minus 23 lofts and that's what people are kind of uh working with so but you know i'm not sure if there's a set standard there could be but i'm just not familiar with it but i could do some research on it if you wanted to email me club cubase at steinberg dot d e okay so we just see from uh question under midi modifiers when i choose transpose i have to scroll or type in 12 to get an octave up there should be an octave jump button add it add it here i usually jump octaves to hear midi tracks all right so let's take a quick look so let's go under the midi modifiers so i think if you just double click and then just hit 12. that let me see if that works if we go to transpose you know so instead of scrolling up one by one just try double clicking in the field and you say minus 12 to go down an octave so just double click 12 to go up an octave 0 to go back so you know maybe if you haven't tried double clicking that seems a pretty good way of doing it uh but also within you know the midi parts you know like one of the things that i do a lot was just to come here just a shortcut in case you don't know it i raised that i think i played the first three notes of the simpsons theme all right um but if you wanted to take this uh and if i had all these notes selected you could also hit shift plus the up arrow to switch octaves within the editor but you know try just to double click and enter the value in there um so i just see uh hello or much different pro tools from cubase so um i think you might you know if you're asking for differences i don't know pro tools at all but you know i think cubase you'd find it to be like a really well-rounded program for composers for bands for electronic music uh you know for any type of use without a predisposed workflow so i think you have a lot more capability uh using cubase and to supply tools without having to buy a lot of third party options all right so we see fred is back from swim practice just asking if anyone else has taxi drivers for kids i feel that way yesterday all right okay so we just see is it known when 12 is coming out it's been announced that it'll be out early next year so that's all the information that they have shared so you see uh just comment from tim weinheimer that uh john taylor from duran duran plays ibanez bases i think in the day he played area pro as well it was this kind of main base kind of in the heyday of the 80s similar to some of the ibanez's made in the matsumak matsumoku factory which my first base was made in so i made it's a great japanese guitar factory at the time did a lot of stuff for area pro and westone and vantage and other brands all right so we have hammett from ghent in belgium thanks for joining you see that since it's winter time that michael pierce might start handing out winter soups so all right so i just see uh i do hope that greg enjoys our chit chat on things that may be not quite related to cubase i enjoy reading through it so it's it's good so okay uh so we have a question uh hi greg uh from australia is there an easy way to drag a midi track and place it on top of the of another midi track and make it so it's one midi track okay so let's say i'll take this and let's say it's on this particular note i will select all of the notes let me just so i'm going to drag this down i'll select all the notes and move it up an octave and i'm going to just drag this on top so we have two events that are overlapping so if i wanted to make these instead of two events that are overlapping one single contiguous event like one one event what i would do is grab the glue gun the glue tool and hold down i think it's the alt or option key and click so now when i double click we could see that we will have our two parts just laid out for us like that so so as soon as you want it to join the two parts that are residing on top of each other and you know they will both sound simultaneously just hold down the alt option with the glue tool and then click on top and then that will be all merged together into one single event okay um we have a question uh after recording a track my cursor always changes to the rubber tool where can i deactivate this okay so let's see if it's changing to maybe this tool so let's say we record on a track i will come over here so i'll try recording on a midi and audio track so for me it's always seems to be keeping the tool so let's say if i have it set if i have the eraser tool selected and then record you know the the tool will be maintained um that was selected before so if i come here let's punch in i'll just record some midi data punch out that when i stop it's the tool that was selected so i don't know anything nothing's kind of popping into my head that would make it automatically [Music] let's see if i maybe did a quick cycle record if that made a difference after recording so i have my object selection tool and as soon as i stop that tool is kind of maintained let me just see if there's any preferences that yes and i don't know anything that would cause would cause that off the top of my head um but you know make sure that you don't have that tool selected or if you maybe hit you know like by default that's gonna be you know the the five key if for some reason you're accidentally hitting if that's the tool if you're actually maybe accidentally hitting that or if that is re if if you hit a keyboard shortcut you know maybe it is if you go to the key commands and let's say if i come here um you know maybe the record enable is mapped to two different functions and maybe one of the functions is to switch to a tool like maybe a key command was double assigned maybe but nothing's really kind of popping it popping into my head why it would turn into the rubber tool or i'm assuming that's the eraser tool okay um so as he says i am finding audio warp not as easy to do in cubase can you help me so a lot of times what you want to do is just kind of start off you know with hit points uh and then you know come over here we'll find our hit points and then just create warp markers go to the audio warp tab to free warp and then you could just kind of move stuff around so let me know if that's what you want to do but you know maybe start with hit points in the event and then from the hitpoint editor just click on create warp markers and then that will give you kind of the start and end so that you're not moving everything before or after the particular events just like that all right i see according to fred robinson and 12th of march is saint greg's day in certain countries so if we have a live stream we'll have to celebrate foreign okay reading through comments so thanks for all the great discussion you can see bonus simpsons watch out for the copyright strike yeah i probably will get dinged for it we'll have ads on this uh live stream so before and after so that youtube could collect money in case someone collects money from them all right so we're doing well on time thanks for all the great questions all right so i see according to michael teams i am la leche go to these people named gregar okay reading through more comments okay so we have a question um have you used the cubase arranger with the launchpad controller i saw it it was impressive is setting it easy so really all you have to do is it's probably just set up through generic remote so when you come over here you can say i wanted to do midi learn and i'll just kind of hit drum pad here so and let's say i want to do a midi learn here on fader 3. all right so let's just have four pads and we go to command and i think we go to arranger to trigger arranger event one command ranger trigger arranger event two three all right so now that i have that set up i'll open up a project as some arranger track stuff see if i still have it yep so now that i have the arranger track active so i will come right over here let's activate i can now just and then you could just use that to kind of trigger the different arranger chains so so once again go to studio setup and you want to just trigger the different arranger chains from different midi note on messages so you can now so now i just come over here and it just and you can have that automatically play to the end or jump kind of at uh the different points they could do jump immediately so i'll just say jump one beat so as we do this my face that you could just trigger those uh chain events using any midi pads i'm just using drum pads on my neck tar controller so it's not too bad to set up all right all right so we see sable winters is back all right so you can see a good comment from nick says i do often forget that greg is actually at work uh could have worse jobs though yeah i used to move like in high school i moved houses piece by piece because i was college boy number two in my construction company i worked with so it's much easier to do this job all right so we see from roland just saying all my cubase pro loading problems are gone with version 11041 so it's good see discussion of metric system and semi-metric systems used in different countries all right michael pierce is trying to figure it out and graham is just saying what's so wonderful about this live stream forum is that you can learn about cubase and have fun at the same time so it's good okay so we see a question hello how to make an event a new event that fills selection of the left and right locators okay so okay so i think that we could let's say if i have this event here and i want it to go i'll move my left and right locators to there so let's say i wanted to extend i think that there's a way of doing this so i think if we go to edit to functions to fill loop that will kind of automatically extend it to fit that if you wanted to like time compress the data you know again you could come over here and just say you know sizing applies time stretch and then we could have that automatically snap to the event there but you could try the edit functions and fill loop so give that a shot all right so we just see um so question how do you make a vocal dub so let's say i'm not sure if it's an overdub um but if you want it to like you know punch in and overdub a vocal so i'm not sure if that's what the question is about you know so easy ways of doing this is you know if we just select let's say i just wanted to overdub this one word um i'm not sure if it's like the music genre but i could just have this selected you know so i have a preference set that sets the left and right locators around the selection which is a preference but you could also just you know grab from the top with the range tool say i need to this word was bad and hit the letter p and then you could hit i for punch in and o for punch out and as i play this let's say i'll turn off the play order so as soon as this plays it will automatically punch in and punch out and overdub based on the input and output points so you can see the punch in start you know punch out okay and we say that's been erased over dubbed and you could just do it like that so try just you know setting using your range tools i need to punch this hit the letter p if you don't have the preference set where the low you know because the punch in points could be based on the left and right locators and then just hit i and o on your computer keyboard and that will be punch in punch out so let me know if that's what you intended to ask okay uh so we see can you explain how to sync tempo to audio track that you import so let's go ahead and there's a couple ways of doing this so one of the ways is just doing the uh tempo detection functionality so i'll come here and quickly revert so let's say i just imported this audio file and it's not aligning to tempo so i'm going to select the event and i will come over here and choose to do from the project menu tempo detection and then you may have like some different interpretive flags like [Music] so then we've now the tempo is following the actual music that was imported so once again you can go to project to tempo detection to see comments so easy to use cubase in live session all right my chat field jumped on me okay so i think i'm back to where i was okay uh so we see a question uh hey greg is there a way to disable a track from following tempo changes in the tempo track uh for example if i import a film for scoring and i don't want the dialogue to follow the tempo changes of the score so the easy way to do this is just to and i'll just do a new project to show it quickly but you have tracks that could be in linear or musical mode so let's say if i have like some loops here [Music] okay we'll say this is our and i want to import quick audio file okay so let's say at this point i have um so when we have our tempo here set to 120 beats a minute so let's say i as we listen to this so let's say this is our dialogue and this is our music so what i want to do in the dialogue track is to set this where it's not going to be in musical mode but i want this dialogue to be set to linear mode so now when i change the tempo so scott dixon joining us now and uh this is this will i'm sorry let me just not record over top of that so as i play and i adjust my tempo just moments after you won the race in the championship i asked you a question then the tempo changes because this is this particular track is set to let's say musical mode and this track is set to linear mode so whatever as whatever i adjusted tempo since this track is set to linear mode it's not going to follow tempo changes and it will stay exactly in place kind of locked to that particular time position as opposed to the bar in beat position all right so we see a question for composing music for a movie but when i flatten chain in the arranger everything moves to the beginning of the project bar zero uh is it possible to get it in the same place where i composed the music all right so let me just take a look okay activate this project here or revert it again okay so i want to select all of the events and let's move them just later in time okay so we'll say we're going to move it there and i want to come over here we'll make this into play order one and i'll do it um in the current projects i'm just going to say flattened chain yeah i see where it does kind of put it at um measure one even though it may not make sense for the film let me see if there's any yeah so it seems like it's not retained so i'll mention that and kind of pass that along to the team but see where that could be annoying but i don't know of a way it doesn't seem like there's an option here to to maintain the time position which would make sense so i'll mention that to the development team sorry about that all right so we have a question from nick can you show us something that requires you to load beetles and stones he needs his fix of the project so yeah we'll go ahead and do that and we'll make sure we see if i can get our next question to you don't utilize this but we'll play a little bit of it here [Music] [Music] [Music] okay so we have our next question um can i use two interfaces so i can get more outputs uh now i have 10 out and i need more so generally most you know it depends on the interface and the format so generally you can't stack usb audio interfaces together so to cascade them if you had older firewire interfaces or pci based interfaces they can stack pretty easily even some thunderbolt interfaces but usb audio interfaces can't really be stacked there are some workarounds on the mac you could use it as an aggregate device that will compound latency and if you're on the windows platform you could use a utility called asio asio for all and what that would allow you to do is to have kind of a generic azio driver for windows drivers in actual use they're pretty less than satisfactory so it may not be like uh as you know using those solutions you know tends not to be so reliable and the problem gets to be that you know there's no way for the audio interfaces you know because when we're dealing with the digital audio you know if you're at a sample rate of 192k you know that could be 192 000 you know divisions per second so we have to keep those two audio interfaces sample accurately synced you know so that gets to be the problem so it's not so easy but with a usb audio interface but other interfaces can do that as well all right uh so we have a question hey greg can you explain when i have a project song with all audio tracks of the song going and i want to speed it up how do i do that so all you have to do is kind of place the events into musical mode so let's say you know so if you've recorded them into cubase you know it will have a tempo stamp and what you want to do is just come here and if you select all the events you'll see that you could place it into musical mode you may see this little icon in the upper right hand corner to indicate that and at this point when i just play i could take my track and if i just change my tempo to speed up from 100 to 120 or 156 or 88 whatever tempo you type in they'll kind of be like musical parasites if you will to the tempo track so they're just going to follow the tempo track if you draw in you know chelrando speed it up slow down drop it in the verse it'll just all the tracks once they're in musical mode and they have like a tempo stamp and you could also do this directly in the pool window where you could make sure that the tempo of the files matches the project if it's been recorded in that and that each of the tracks is in musical mode as well reading through comments and my chat field jumped on me sorry about that so we see fred robison just saying i've used been using cubase since sx and i probably only know 10 of it really well another 10 percent fairly well and another 10 percent i have to look up again 70 percent i've probably never even seen let alone used so but everyone's percent in those scenarios could be different features which is the interesting part so i get to figure out how cubase works for everyone else so okay so we have a question um is there a way to change the category of a vst plug-in a lot of them are coming up under other when i would like them to show under for instance reverb so i think that's kind of hard coded by the developer or maybe it's not in you know not coded by the developers i think it's part of the vst 3 specification but if you wanted to go to the vst plug-in manager laura what you could do is you know you could come right over here and duplicate um this so let's say if i just wanted to say new collection and we'll say copy current collection so we'll just call this laura that at this point you know if you have plug-ins under this i could just place them into my reverb and you could reorganize it there so that may be something to kind of check out and play around with as well sorry i just have to respond real quick to a text that came in pardon me all right so all right so we have a question um is it possible for cubase to accommodate its bpm tempo to input monitor tracks uh real-time analyzing the input source and it and adapt the session to it you know so no there isn't a way to do it you know because it doesn't really know if you're gonna be in seven four four four three four five four six eight you know um and you know you generally you know whatever input uh is coming in you know everything in cubase is going to be based at the sample proceed at the sample level so everything's going to be kind of captured at the sample resolution so you know you could do it afterwards but it's not going to do it in real time to synchronize from an external source you see that uh everyone is admiring sables left-handed rickenbacker she showed on the last zoom meetup so that was pretty cool i have to say never saw a purple rick before as you see a comment as other people had mentioned about um the drag and drop for the plugging categories for laura um so you know make sure that you you know if you do it that way just make sure that you first duplicate because the default will always kind of be the default settings so when you click on the plus just copy current current collection and then from there you can freely kind of drag and drop see other people kind of mentioning same thing about the plug-in collection everyone's happy i started playing beetles and stones that's always a classic we can't wait to hear sable's version okay so we see a question um i think it was every time i play my f key my mix console comes up let me just find it yeah so every time i play my f key on my midi my mix console comes up how do i get rid of that so it's probably going to be set up in if you get to your studio menu and go to studio setup and at this point you may have a generic remote or mackie control that's bringing that up and it could be that if you have one of these so it could be that you know you have an assignment here in a generic remote or in one of your remote controls that's bringing that up so check the settings there but it's probably something like um you know we're going to come here it's going to be f1 is opening opens up mixer so you know we could just at this point choose command you know but it will be like one of those settings in there that's probably triggering it so it's taking that incoming midi message probably through generic remote or mackie control and then that's doing it so if you look in there that should you should be able to find it uh okay so we have uh just a question uh why do you make a duplicate why are you make a duplicate track for parallel if you could just send another signal to bus and then compress and mix it in so you know generally you know some people will duplicate and compress one or the other so it's not truly parallel because it's not kind of uh you know how the signal flow is being treated a lot of people do it that way as well so but if you're to get technical with it it's not how it's kind of done on traditional analog consoles as well okay so we have a question from kevin says i'm not able to access a virtual mixer for ur 44 when cubase is active is there any way around that so with the ur 44 you can access all of the mixer all of the functions inside of cubase so you know if you go to like your main cubase mix console you know you could see on the input channels you'll see like the hardware settings so and you have all those functions integrated into cubase so that you don't have to always go back and forth between the two so once you start cubase it is truly integrated so that you don't have to constantly toggle back and forth between two programs and all the settings that you do for the ur-44 is just done as a part of the cubase project okay so we see a question how come the channels in the mixer color match the track color there's a preference for this so when i see my mixer with all the pretty colors that are matching the track colors that's just going to be handled uh go to preferences and go to user interface to track and mix console channels and we could just activate the mix console channels right now we see no colors in the mix console when this is active and i hit apply we could see that the colors from the tracks are now applied to the mix console okay so we just see a question uh please create chord track detection from audio or midi file so again it's not going to do it from audio but it will do it for midi so if i wanted to look at that um we're just going to jump back over here again so so all i have to do is select a part that has midi chords in it go to my project menu and go to chord track and create chord symbols i generally have the top two included and at that point that's how you can do it for midi so once again go to [Music] project to chord track to create chord symbols okay just reading through more comments all right so we see um question uh would you advise putting plugins on the input channel to mimic a hardware input chain you know the only time that i would put you know like on the input channel effects is if i actually wanted to permanently embed the effects on the input channel so you know we have input channels in cubase so when you put a compressor an eq on here you know that eq and compressor and compressor those settings are embedded into the file near you know permanently you know permanently a part of that file so if you're certain that you want to do that most people like to have the possibility to reserve you know to reserve those decisions until the mixing process when everything is done you know so in the old days people you know traditional studio workflows would be to record dry and get everything kind of sounding as good as possible dry with mic positioning because you didn't want to like you know do a nasty eq that worked during tracking that when you add all the different instruments into the project later doesn't work at all harmonically or sonically so but if for some reason you just wanted to put you know plug-ins so you know you can have the plugins on the tracks and monitor through them and that would be you know very very similar conceptually to having an input chain um but you know unless you specifically need to embed that plug-in during the tracking process you know i would just put it on the tracks and not on the input channels see jeremy clark is just saying uh thanks for all the help with the live streams i'm glad it's helpful okay we see laura's just got her plug-in your plug-in organization set up all right so we just see a question uh why my cubase 11 tends to keep cutting out what could be the cause um you know so there could be you know if you're on a pc platform there is a utility called i think it's called dpc latency mon uh and that could you know do an analysis of your system and makes and see if it's okay for you know because sometimes it could be like your wi-fi network all of a sudden when you have like real time performance you know your wi-fi network may just kind of interrupt and say hey i'm looking for a wi-fi signal now even though i'm not connected to the internet so there's different components that can sometimes interrupt workflows that could affect real time audio performance so you could look for those the first thing that i would try though is you know if it's kind of cutting in and out is you know go to your studio menu to the studio setup select your audio interface here on the left hand side under audio system go to control panel and try to simply increase your buffer size and you know nine times out of ten that will make a difference and make it you know and that kind of gives your computer more breathing room you know so the higher the buffer the uh you know it will increase the latency but you know but it your computer works significantly less harder the higher you raise the buffer so try raising the buffer first so we see jazz dude just mentioning 150 plus hangout sessions and every question question's indexed it kind of makes my brain hurt thinking we've done 150 sessions so but it's been really really fun and i think everyone for attending the live streams okay so you see roland's checking out because it's late okay so we see from sergo's it says uh where where can you buy a normal inexpensive studio desk for your home studio you know so there's different companies you know the one i use in my office my studio which i love is was just a cheap ikea jerker uh you know so it has kind of three levels as one kind of larger level where i could have like my cc 121 my mouse keyboard a controller keyboard it has two pull out shelves it has a shelf that's about eight inches higher where i have my computer monitors it has shelves that go off to the side where i have my speakers and another shelf on top or i have a roland jd 800 and just very solid and compact and i could get a lot of stuff so you know don't don't under estimate you know getting something from ikea to so you know you see someone else just saying ikea desk and i remember talking with my friend uh marcus ryle when he got his nuage set up and he's the founder of line six and you know invented the adat and you know for his nuage you know he just got like a 200 ikea desk and he's like oh it's so perfect i love it so okay so to see and this may be related to the last question it says my cubase 11 tends to keep cutting out what could cause it using my mac system so again you know try just simply to uh you know raise the buffers uh you know on your mac or pc and see if that makes a difference for you all right so just see uh question uh is it possible to blend out the track name in a key editor uh it's not easy to set the cursor and make a double click to start thank you all right so say if i'm here it will double click let's say if i go into the key editor like where i see the name here i think is probably what people what's being referred to so i think if you just turn this off here that will go away so you see this two little hair pins directly there just turn that off and then you could hide that the label within the key editor within the key editor so try that all right so i think i'm at the end of the live questions let me go ahead and i know we had some questions that were sent in so let's get to some of those before we run out of time thank you all for a wonderful questions hope everyone's learned something and if you haven't subscribed to the channel make sure you do that and if you haven't hit the like button make sure that you do that as well let me just go over to my word doc here quickly all right so i just see um it's a question how can i achieve that a track and its events automatically change the color to the folder track color if i added it added to it so i don't think that it automatically changes i don't know of a way to automatically change the colors automatically so let's say if i wanted to go back to this project here we have folder track for our drums so if i add a track into the folder you know that track won't automatically be in the same color so you can see where you you may want that or you know you may want to retain the original so i think you would have to kind of manually do it so and again if you wanted to set all these at once to a particular folder you know you could select all the tracks and choose your color um and make sure you don't have any actual events selected but let's say okay i just wanted to change all of these and i'll hide this to a particular color so i could now just switch but i don't know a way to automatically have the track you know conform to the folder track color and i can see where a lot of people may not want that but they could see if it could be maybe added as a preference but i don't know of a way off the top um okay another question um with regarding remote control i set up a touch control as a generic remote control to switch between grid types and quantized presets with different buttons i access them as set quantize midi commands however i can't find individual commands for dotted and triplets just toggle how can i achieve this simple behavior press button eighth dotted quantize switches to eighth dot uh press button 1 16 quantize switches to 1 16 etc so you know the you know i think that the intention was you know when we have your different uh quantized presets that you know we could uh instead of having 12 different options that you know we could just simply set it you know to dot it toggle on and off and triplet value toggle on and off so that you could get more functionality um with fewer remote control buttons especially so instead of having to you know have remote control buttons on your controller that do uh all of the different quantized values were dotted in triplet that we could just have like let's say you know we're going to do maybe 16th notes through whole notes and then dotted through triplets so we get all these values um with particular ones now what you may be able to do is um you know maybe we could save we just checked key commands okay so let's see if we could uh if you could do like a custom yeah it doesn't look like there's custom quantized presets um so yeah i think it's just going to be toggle on and off but you may be able to have a button for reset so that you always know where the toggle status is on that sorry about that all right so um we could see you see a question uh if you have many tempo changes in a song and you've set definition from tempo on an audio clip um how can you see the tempo changes that are embedded in the audio clip so you know when we do this there's not going to be um separate let's see if maybe if it will i i don't think that the metadata will indicate the tempo changes on every single beat but will indicate kind of a like a generic tempo holder but the information is still there but not visible so but i'll just do a quick test in one little area and see if maybe we can see it in the project browser so let's see if we go into the project browser yeah so i don't know of a way to see all the different tempo changes like directly within the metadata for the event but if you've stored it within the event then it will automatically be recalled in cubase but i don't think many programs actually um can handle you know multiple definitions of tempo for a particular audio file so that could be one of the issues as well all right so that was our questions that were mailed in we didn't have many this week all right and jump back to our live discussion see how we're doing on time so don't go over today i think we got a lot of questions in today all right let me just jump back okay just reading through comments there you see tim weinheimer almost forgot to hit the thumbs up like button so that's good glad you didn't forget all right so you see from uh bever records just saying thanks uh for the time we spent with everyone on this channel subscribe uh he's gonna like the channel and subscribe uh he's working on his new track okay so we just see a question um how do you set up markers on a project so i can place them for the course verse hook etc all right so let's say if i uh like i have a marker track here so like i just right clicked and added a marker track okay so let's say now if i just wanted to put in markers let me just make this a little larger so say okay we have like these are markers we could hit i think control m and then you could just go to your marker description and then if you just go down you could label each of the markers you know whatever you wanted to so and that way you could kind of navigate uh by marker names and you could leave this window open and if you wanted to just say oh let's go here just jump here uh at that point you could just navigate quickly to reverse course hook very fast and efficient like that all right so i think i'm at the end of the questions we'll see if there's more questions that come in i think we got a lot of questions in today and i always had to index them afterwards so we may have gotten uh at least 100 i think today but we'll never know until it's all counted up afterwards but we'll see if there's uh more questions that come in if not we'll wrap up a couple minutes early and thank everyone for all the great discussion uh and we'll be doing this again on friday so okay so i'll give it another couple of seconds okay see michael pierce is having to to take off as well so thanks for joining the live stream all right so i see i get a gold trophy from agent k thank you it's much appreciated okay so with that i think we're at the end of all the questions thanks again for all the wonderful uh questions that were asked and we look forward to seeing everyone back on friday so you got 133 likes it's great it's appreciate it and look forward to seeing everyone on friday take care goodbye

Channel: Cubase

Views: 12,762

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: cwdnVIQXvUc

Length: 229min 40sec (13780 seconds)

Published: Tue Dec 07 2021