How to generate vocal harmonies automatically | Club Cubase Live Stream Nov 18th 2022

hello welcome to the November 18 2022 Club Cubase live stream I'm gonna do a quick audio test make sure everything's coming through and then we will begin bear with me just for a moment all right and let me go ahead mute all right so my name is gregondo I'm the host of the live stream today um if you have not attended a live stream before how it works is you can submit questions in advance to Club Cubase at steinberg.de or if you wanted to um if you actually wanted to just ask your questions in the live chat field you could do that as well when asking questions if you could specify which level of Cubase you're running so whether it's Cubase l e a i elements artist or Pro or other Steinberg programs which version number so if it's 10 10.5 11 or 12 and if you're running for Mac or windows that would be helpful information I won't have the ability to keep up with the questions live so if you don't see an immediate response to your question if you could be patient we'll try to get through all the questions chronologically and repeating questions often just kind of slows down the whole process so if we could avoid that that would be helpful we should have all of the an index with all of the topics covered in today's live stream with timestamps pinned to the top of the comments field several hours after the live stream ends um so you could look for that as a reference point if you wanted to search for topics in previous live streams you could go to cubaseindex.com and yawn from Stockholm has been kind enough to create that website for us we have two people that serve as moderators Agent K and Jazz dude I'm just going to give a special thanks to them they're not Steinberg employees they just kind of do this out of the goodness of their hearts to make it a better community so special thanks to them and also another wonderful resource of information for the sniper communities the Cubase Nation Discord so jazzdo does a lot of work with that so it will give him a two special thanks today um so once again I'm presenting from outside I work my name is Greg undo I work as a product specialist primarily focusing on Steinberg products for Yamaha Corporation of America which is the United States distributor of Steinberg products and I'm the host I'm presenting from outside of Washington DC in Alexandria Virginia and if you are watching this live please feel free to introduce yourself and tell us where you're from It's Always fascinating and we will go ahead and begin all right so we have a question uh from Gadi Zana uh hello Greg Dynamic EQ with sidechain is it better to do it pre or post for example when I use a kick drum to trigger a bass I can choose pre or post uh wondering which way is the right one all right so when we set up side chaining let's say for an audio track so I'll just add two audio tracks here okay and let's say on this track I have um a Dynamics plug-in so if you wanted to do it with I'll just show kind of with Dynamics or you could do it with frequency which is kind of the dynamic I'll just say we'll just take a look at it here so we'll get a frequency plug-in on this particular track um so and then when we switch to Dynamics we could come over and we'll say okay we want uh to have a side chain in on uh on Band 2 and let's add to sidechain input and we'll say Okay I want this to be Audio One so when doing this that will when we go to this particular track and we go to the sends we'll see that this uh track is automatically being sent out directly as the sidechain input for this band of the EQ now the question is do you want it to be pre or post fader so and the difference being if you want it to be very consistent I would switch uh I would probably just say move it to pre-fader so this way regardless of what the level is of the particular track um you know so that we're going to have the same consistent volume so if you want it to be like you know the same consistent volumes and not to be affected by any track automation that's when I would move that particular uh send to pre-fader and that way you're going to be very consistent if you wanted it to map the Dynamics of the track um then you could do you know typical post fader um but if you're doing like EDM music it probably makes sense to have it very consistent so that's one of the that's a a good use of a pre-fader for the effects send uh feeding the side chain input all right so we see Jazz dude uh had found a free uh K1 VST plug-in equal ik1 because he and I are both Kawaii K1 users from years ago um but yeah I have that plug in already so thanks for letting me know and it's if you want just kind of a great stroll down memory lane or just looking for some great 80 sounds that's a wonderful tool all right so we see Daniella uh we see Stefan from Sweden okay so I just see um the circus is directed Jazz dude or me um uh from Daniella that says uh Iona Axiom 61 uh to an old keyboard can you provide yours mapping for Cubase somewhere it's the old not in the list so anything that's actually um you know if you're dealing with like Cubase 11 and earlier you know anything that just kind of transmits midi information you could you know you don't need any special profile or accommodation if you wanted to use like the knobs uh for quick controls in earlier versions you could come over to your studio setup and we could select your uh track quick controls and we could map we could set up the midi inputs and outputs to your Axiom keyboard and then when you go to plugins you could map the quick controls and if you wanted to go to the new midi remote you can just come over here and actually create uh kind of a surface of this and there's a lot of people that are sharing these particular surfaces but you know you may you know these are really easy to create so if you kind of click on the plus sign and then you could just um you know choose once you go into kind of the editors for it let's say we're here you could choose whether you want it to be like a knob slider to kind of physically match the keyboard and then at that point we could go to the mapping assistant and then you could say you know this particular slider does this function or you could actually just kind of right click on a lot of different functions and say this slider pickup for remote mapping volume and that way you could actually just assign so there's probably not like a secret preset but you could configure it quite easily uh to have it work exactly how you want to work all right so we have Mark Winslow checking in from Hawaii saying Aloha to everyone all right so we have David Griffith checking in from Wales and we have Matt elleston checking in from London we have Benny from Sweden we have yarn from Cubase index great to see you on all right sorry my chat field jumped on me already and we see Soren from Sweden all right and Edward James from Akron Ohio John Costigan from Kenosha Wisconsin let me know John if you got part of that huge snowstorm I know it's kind of hitting Upstate New York but it was kind of a Great Lakes event all right and we have Sir Robert from Chile Atlanta great to see you on we have the artist known as love checking in from New York um all right so we just see from Daniella uh Greg to work out yours videos during the week it could be helpful with the project can be somewhere to download specially for beginners to follow better the steps uh special hobby users like me if you let me know some of them some of the files are copy written so I can't really share some of those but some I've kind of created just as example pieces and if there's a particular project um they say oh you used this project for this I'd be happy to kind of share the project if it's not copy written and I have kind of permission from the owner of the copyright but if you let me know which project and you could always kind of see the project name at the very top here and sometimes I will create like a project specifically for questions that were sent in for a particular live stream and if that's the case I'm happy to share those but you could email me at Club Cubase steinberg.de all right so we have Tom L just sending greetings from Germany this is really love to watch this club keybase live stream every week thanks for being on and we have narinder Dani uh checking in from London thanks for being on all right so a question uh hi Greg what is the difference between templates and workspaces all right so templates are an actual like you know I want my Pro I want a starting point for a project so if we say uh and we see templates often used for composers they could have every one of their sounds immediately accessible and at that point we could uh save a template and so every time you start Cubase you can have all the particular instruments loaded everything configured the effects uh the appearance all completely dialed in now what a workspace is is a workspace is kind of like a set of like if I come over here and I go to um supervision I can now have particular workspaces and these are kind of presets for having different windows open simultaneously so if I say okay instead of setting up like a number of you know different presets and having um you know multiple windows perfectly placed I could save like all those different window configurations as a workspace and workspaces when we work with them can be Global so we go to add a workspace we could have the workspace be Global or for a particular project so let's say I wanted to immediately go on a project and have it do go to very audio for doing vocal intonation correction but maybe I want that for the project because maybe I don't have vocals in every single project but every project I need to go to the mixer so we could save that as a global workspace so think of uh templates as a starting off point and workspaces as kind of like stored presets of different window layouts and configurations all right so we see Jeweler the rocket from Ontario thanks for joining us all right so we see from David Griffiths um how do you get a filter to start opening at a specific point in the event using FX modulator is there a trigger I can use it seems to run continuously all right so let me just go to a particular project here so you could a lot of the functions you could have it automatically so let's say we have um this particular I'll take a quick drum Loop here all right and I want to go to my FX modulator so just open it up as an insert foreign and let's say okay we want to do a filter all right so let's say okay so one of the things you could do is just come over to you can set these little settings um and then if I just create a midi track and then I could take this midi out and then we could actually feed this directly into the FX modulator so let me just may have to activate the side chain okay so now I'm going to take the if I get this so I'll take okay so we'll see that we'll have the insert here so now as soon as I hit the midi a midi note and I'll just open up the on-screen midi keyboard so as soon as I hit a midi note [Music] so at this point we could just trigger it from midi so if you wanted to kind of start at different areas you know maybe you could just trigger it via midi and that way you could start it kind of when you could have it come in and out when you want to based on a midi message so just open up a midi track uh enable midi within the plug-in and then you could set the midi output Port directly to the FX modulator midi input so give that a try all right so we have a question from Dallas LaRue from Las Vegas um I have a song that has an odd Quick Change Riff on my guitar the kick drum will not line up with it no matter what I do is there a way to quantize the kick to the Rhythm so yeah certainly so what you could do I'll just jump over to so say I have a guitar track up here and I'll just move it up all right so if I just wanted to let's say I wanted the the kick to automatically just kind of fall on these direct spots so at this point I'm just going to go to free warp um and then so we're going to enable free warp and I will just kind of take some different warp markers here so if I wanted to have like you know this warp marker be right here where the kick is I could just kind of drag and at this point just say Okay I want this warp marker to be right there I want this warp marker to be perfectly lined up so this way we could just take the guitar track or we could take the kick track if you wanted to and then we could just add warp markers here and then at this point we can say Okay I want that kick to come in right when right when that guitar starts so you could just kind of very easily move and do free warping on the parts to get them to match for you so give that a try all right so we have a question from Benny uh a campaign audio tracks are sent to a group channel is there a way I could do it or do I have to take them out of the group to do it Cubase 12 Pro so generally when I hear this it is often means that it was um when we add a group channel that the group channel is set to Mono so if I send all my drums to a mono group and I wanted to now come and pan we don't really hear any differences because they're all being sent to a group that's mono but if I want it to come over and say okay let's send these tracks to a stereo group so when we send group channels to selected tracks let's choose stereo so now that it's being sent to a stereo group I could take the kick and pan it so it check to make sure that you don't have a mono group um there's a good chance that it's a mono group and then you could pan it and you don't hear the changes but try to make sure you just send it to a stereo group all right wonderful to see Michael teams from Weatherford Texas and he wants people to whack the like button so foreign from uh Jeweler to Rocket um uh hi Greg do you know why in the new Cubase version when you insert a plug-in it doesn't start right away you have to open it manually usually in the older version you insert a plug-in it starts so let's say if I come and let me just drop an insert in here so and this could be just a preference I so try going to uh preferences to plugins and then uh there's a preference here for open effect editor after loading it so now if I open up if I drop in an insert effect in it's not going to open but with that preference enabled so once again preferences under VST to plugins open effect editor after loading it so now when I go to add a plugin we'll see that the plugin interface will just pop up automatically so try just making sure that preference is checked I think that will take care of it for you all right so we have uh Larry checking in from Brampton for the second week in a row enjoying your streams thanks for joining us all right and we have uh DJ showcase checking in from Queens New York all right John Costigan is thanking Michael teams for the like reminder yep so the more likes we have the longer we can continue to do these live streams so and if you subscribe to the channel if you haven't done that all right so we have Kerwin Young from Atlanta thanks for joining us right all right so I'm sorry my all right so we have a question uh from Patrick um Greg is there a way to delete event without control Z like I programmed a bass on midi it's 16th note triplets I duplicated four times but I want to delete the notes which I duplicated on second time is it possible so I'm not sure if it's in the midi editor or not so let's say I come here all right so let's say I want to do some 16th note triplets here oh sorry let me just put in the right field so I'm going to do it let's say 16th note triplets starting right there let me just all right so um so I'm not sure if it's on you know the project window so let's say if it's on the project window so let's say if I just held you know command D down you know you could now just simply come here and delete the second one if it's on let's say now I select all these events and I duplicate here um you know I could select kind of all these notes and just delete or you know so you could do it kind of like that in the midi editor or within but you don't need to use control or command Z for that so let me know if that makes sense for you Patrick all right so Michael teens is already on the ice cream delivery so he's getting one gallon of peanut brittle ice cream to John koskin okay reading through comments All right so we have Valley checking in from Vienna thanks for joining us all right and we have monos uh just says happy it's nice to join the stream again we're glad it could be here Miguel is checking in from Manila so it's probably really late or really early there so thanks for joining us probably being up in the middle of the night all right uh so you see what is nuendo live it's on sale yeah so currently there's a number of programs on sale um wavelab Dorko iconica absolute nuendo live nuendo live is just a very simple tracking software so it's a capture software and it's often used with like large format live concerts or live productions where people don't want to necessarily you know have very complex setups you know so it's we could think of it as uh like recording software for a live sound engineer so that everything could be automatically mapped like if they have Yamaha consoles and they could just kind of hit one button and be able to track and record everything so with that um you know you could you know so a lot of facilities a lot of concerts use nuendo live um for uh for you know I know in the United States you know the all the performances at the Kennedy Center in Washington DC which is our I think one of two uh like you know National you know like Federal Performing Arts venues and the other is Wolf Trap in Vienna Virginia uh and both of those use nuendo live for kind of capturing all other data so it doesn't really do editing doesn't run plug-ins it's really set up for just kind of capturing live concerts so it's a very simplified interface um so that's what nuendo live is kind of geared towards okay so we have Valley says um is there a Cubase sub on Reddit an official thing uh they're often questions asked and I try to answer but there's barely any sprots that barely any response there maybe it isn't so I don't think it's official as I don't think that there's an official Reddit form but obviously there's lots of people posting Cubase questions so all right so we have Rob checking in from Tarpon Springs Florida okay just reading through different comments all right so we see Michael Pierce he's lurking uh he's still he's feeling rather ill so we hope you feel better um and thanks for joining us and he wants everyone to slap the like button and we're glad he can make it in when you're not feeling well we hope you get to recuperate over the weekend uh and just just one quick reminder next Friday we won't be having a live stream because it's uh Black Friday so it's the day after Thanksgiving in the United States and it's a holiday so just I'll remind people on Tuesday as well but just wanted to give a quick heads up all right uh so we just see from Miguel it says I work in post-production and found out using the vanilla version of Cubase is stable and never gives me problems 12.0.0 uh any update makes it crash um so I think that 1205 has been a really stable version so I'm not sure if you've tried that but and it's also added a lot of different capabilities including Dolby Atmos which may be nice for post-production as well as a lot more capabilities in the midi remote all right wonderful to see Mark Rabin from Montana glad you can make it today and we see Nick as well from the UK all right and Mark Raven's dog Stella says hello to everyone all right um so you see from Benny's this question it looks like in your project uh Amos Moses track five is empty can't pan all right so let's say one two three four five so so um yeah so it's kind of the snare bottom and there could be like maybe some let's see if it's so that's track five there um but yeah let me know if it's you know if this is going back to the uh why you can't pan in the group you know make sure that it's again a stereo group so maybe I showed it after you type the question all right so we see Bruce is a proud like number 47 today Mark Raven is currently in a balmy 10 degrees Fahrenheit there in Montana all right and we have Gerson Herrera checking in from the Caribbean Netherlands thanks for being on all right uh so we have a question from z uh hi is there anywhere to download a different theme for Cubase uh I know I can set my own but setting the colors is a long process so I think that there's people that probably in the Cubase Nation Discord but if you wanted to you know you know there's probably a lot that would be the first place I would look uh if you and if you have a hard time setting colors if you go to the project color setup and go to opt you know go to presets here you could you know if you need it more you can say Okay I want 32 basic colors and four colored tints so you could have 128 colors there but um I'm sure Jazz dude could probably post a link where there's different um color themes as well in Cubase Nation Discord all right so we see from uh Jeweler to Rocket I have an issue with panning and individual tracks I didn't send them to a group can we paint a mono signal and it's on an individual track so as long as it is actually set to a stereo output so when you go and come over here so I'll just revert this so yeah you could definitely pan so let's say if we're here I'll just take the Bass track [Music] so because this is going out to the stereo out I can pan [Music] but if this was sent to like a mono out to like let's say the left output then we don't have a paint control because it's going to a mono output as soon as it's going to stereo out then you have panning capabilities just like that [Music] all right all right reading through comments so thanks for all the great questions again if you learned something new make sure you um hit the like button all right so Dallas LaRue says uh is it possible to make 15 second videos on Cubase or Tick Tock um yeah so I I was I was kind of uh coming up with a series of new videos that are going to be maybe like one minute long so do you want like quick short uh tutorial videos um so let me know if that's what you want Dallas but we could do that as well so I'm not sure if it'll be on Tick Tock but we might put on other uh different sites all right so we have a question from Bob how to automatically set the highest hit point offset to multiple events all right so when we're dealing with hit points um you know often that's going to be on a file by file basis um so I'm not sure if you let's say if we go to our sample editor and we select our hit points um you know so if you wanted to set your threshold here but that's going to be kind of on an individual uh file basis because it's in the sample editor so um so I don't know the way really you know unless you kind of bounced it down to set it you know for multiple events but it's kind of you know the sample editors Define it's kind of the intention is for individual files so and I'm not sure but let me know if that's what you're thinking of okay reading through different questions all right so I've seen Michael teams is granted my family and myself uh one gallon of chocolate chip brownie ice cream that's good because my mother-in-law and sister-in-law are visiting for the weekend so I'm sure they'll enjoy it too thank you Michael foreign so um I just see um maybe with this project uh from Benny I just see comment uh looking to make sure window and you'll see what I mean blank in the pan window okay in the snare bottom track so let me just check the routing so we see that this one here is blank so let me just so let's get a snare bottom that was accidentally set to no boss so you don't see any panning when I set it to the stereo out then we have the panty so thanks for catching that all right uh as we see from Harry Olive uh good day Greg I have a vocal audio track with the super massive Reverb insert How can I self sidechaining the Reverb on this vocal audio track to the Reverb in Cubase all right so let me just add too much Reverb to a track here all right so we'll take a vocal file here [Music] all right so let's say on our vocal sorry my Alexa is going off for some reason [Music] time ago it was seventh grade in the school parking lot waiting on our yellow coach to Ferry us home you look my way and your heart Shone through it it caught my breath while you called me too all right so let's say I'm gonna now um go to the effects end here [Music] so we'll go to my effects channels and we'll see it was seventh grade [Music] all right so I'm gonna go to this particular um effects return channel it's good to the inserts excuse me I just sneeze sorry I'm sorry about that um all right and then I want to put a Dynamics on it so let's put like a heavy compressor after and I'm going to sidechain this to the vocal as a side chain input I think that'll do the trick okay so now as we play we should be compressing [Music] all right and it's going to activate the side chain [Music] s all right and let me just see if I switch the order of it [Music] I thought it was the compressor after so I think generally what you do is we can [Music] foreign project here and make sure so because I have other routings in that so [Music] okay a new day all right so I'm gonna add let's say Reverb to this day [Music] but remember me remember me but remember me remember me remember me remember me okay so sorry so let's come here and put the compressor on after and I'm gonna put just some space between these here so I'll go to edit um so let me give it like two seconds between each event and on if the effects return Channel [Music] so you could hear that a new day so this way the a new day the Reverb is compressed [Music] remember me remember me so now as soon as the signal remember me is goes below threshold then a Reverb kicks in and make sure um yeah so that way like while the source is coming in the Reverb is docked and you hear the Reverb between [Music] so just place the uh like a compressor or Dynamics plug-in directly after uh on the effects return Channel and then you could duck it all right foreign ERS on and she's like number 60 so thank you all right so we see from Patrick uh Greg make his 16th note and then duplicate it four times without Ctrl Z delete the notes which was duplicated a second time because it's 29 minute Q uh if I undo its deleting from reverse I can't go I can't go each bar and delete okay so let's say if we have um Okay so um okay so let's go ahead and I'll put in um just 16th notes all right I'll just all right so I'll put in 4 16 notes let me just start it at okay so let's say um okay so say I wanted to delete the second 16th note um like in and if we have this I think maybe what the question is if we have this duplicated um all right so one of the things that you could do is as we duplicate um so let's say you know if I duplicate this let's say control if I hit Ctrl k um we'll say repeat events so let's say now we could have these as shared copies so if you wanted to edit each of these um I could now as I delete let's say this particular note it's going to be deleted in every single copy of that so if I wanted to come here and say let's just take these and delete and then all the edits I make in one part will be applied to other parts if you didn't do a shared copy I could just come over here and say um like I wanted to delete the this 16th note so if we go to The Logical editor it's good to set up and I'll say um we want to delete notes and we'll say their position is going to be and I have this one selected so I'm going to say one one to 2 and we can say inside range to one one three so if I do this right and I have all these selected um or I'm sorry let's choose uh inside uh bar range sorry foreign 16th note in all these so now if I do this sorry let's make this one one two and one one three all right let me just make sure I have this foreign just foreign now if I have all these selected and let me just see there's another Choice I'm just thinking of Okay so so you should be able to kind of so if you wanted to delete like you know these particular notes so you could just kind of choose and you see kind of the representation of the bar here so exactly okay let's delete notes here let me just set this to all right so now if I do it to this one so we could just say I wanted to do uh Delete the second 16th note so we say type is equal to note um position is inside bar range and we want this to be between the first and second sixteenth note and then you could delete all those so let me know if that's helpful Patrick um I'll go ahead and save this as a preset sorry for my brain cramp there so but if I misunderstood again let me know foreign okay so we see a question uh how can I set up headphone mixes with the control room all right so let's come over here all right so the first thing you want to do is to make sure that you have uh enough audio outputs to feed a headphone system so you're going to need like discrete outputs so if you want it like to discrete headphone outputs you'll need like six outputs if you want to do like um three headphone mixes you know you could use one pair of stereo outs for of your audio interface for like the control room and then maybe outputs three and four for headphone five and six for control room and seven and eight so we defined those connections we can go to your audio connections and we could just come over here and right click and you could add cue mixes so here I have four Q mixes set up so I have uh vocals um guitars bass so let's say so what I'm going to do now and once those are configured we can see our control room over here we're going to go to the big mix console and let's come to uh so when we go to racks here we want to make sure that we have cues and I'll just kind of knock this over so you can see so click here under racks and make sure that cues are checked Q sends and then the trick is if you kind of right click in a blank area I could say okay I wanted to take all of my tracks so I'm going to select hold down the shift key select and now what I want to do is to one now that all the tracks are selected we can say um I want to activate the Q sends I want to use the current mix level so you get all cues so and this will carry over the balance of the faders to that and we say let's use the current pan settings all right so now that we have this going on what we could do is just say Okay I want to take this is my mix in the control room so as we select different tracks we can say okay I wanted to take all of my drums and let's send all the drums and we will send it to this Q mix I'm going to activate Q Link so I'm going to adjust one and we could bring up the drums in this Q mix so let's say Okay I want the base it's gonna take the Bass track here so we're gonna send more bass and we're gonna send more guitars to the guitar mix so what we're doing is we can take this track and send varying amounts to different mixes so as I just so as soon as I do this I can now listen to the bass players headphone mix the drummers mix or the guitar headphone mix just all kind of directly in the projects let's say We'll rewind here so and this is [Music] so when we look at our mixer we're basically sending each track different mixes to that so we could you know so these are what's being fed out of the the outputs of the audio interface so when we go to the audio connections again you want to just send these to like outputs three and four five and six seven eight and make sure that's going into some way that could be routed to headphones you may need a headphone amp but then the bass player can hear more of themselves the guitar players here more themselves drummer care more themselves and let's say the bass player says oh I want more Kick Drum I could just take the kicks here and say okay I want to send this to the bass player's headphones so now we listen to the bass he's gonna have more kick [Music] and it's like oh now he wants more snare going [Music] so we add more kick to the bass players headphone mix [Music] and let's say they need more top [Music] so and they'll say the bass player or the drummer wants here more bass player so we go to the base track and we send more bass to the drummer's headphone mix so this way everyone can have their kind of more me headphone mix foreign by the way Greg the new Cubase update fixed um the tempo detection crashing issues so yeah there's a lot of things that were kind of taken care of all right so we see Miguel's taking off from Manila so thanks for joining us all right so we see from Dallas LaRue uh says I was talking about the actual performance and time with the video with the audio like a live performance all right let me jump back to Dallas's question okay uh so I guess this is maybe with is it possible to make 15 second videos uh on Cubase or Tick Tock um uh in time with the video and the audio uh like live performance so you could definitely um you know record uh now if you want the video synchronized to the performance you may have to get a sync box but it's easy enough to kind of take the video and at that point um you know sync up Cubase to the video but if you wanted to do um you could do that but you know make sure you may have to if you wanted to synchronize to video you might need an expensive sync box to do it correctly so if it was for a live performance um you know um I'm not sure if if you're in a situation where you need to sync or if the camera is just gonna Freewheel but you could definitely um you know capture stuff and you know do screen recording if you wanted to and have it all work together all right so a question uh how do I correctly install the new update do I need to de-install First you could just simply uh just install over the existing version for you so so you don't have to uninstall um so you see from Larry uh are you able to do a quick VST connect setup I have an issue getting the remote musician to hear my talk back um I don't have my secondary laptop set up um but let's go ahead and we'll come over to VST connect here they usually just do all right so um you know make sure that when you're doing this that you know when you have the talk back enabled into VST connect um you know for the VST connect qmix so you'll have like your Q mix where the VST connect make sure that you have the TalkBack turned on directly here and that the TalkBack mic is configured when you go to your audio connections uh and if you when you go to the control room that you could uh just make sure that that particular input is configured right and in their headphone mix make sure that you could actually come right over here and that the TalkBack is turned on so I I get that periodically where the TalkBack isn't turned on into qmix and people can't hear foreign Finland is giving one pint of Caroline beer for everyone it's very generous thank you um sorry my job field just jumped on me all right I think I'm back in the neighborhood all right all right uh so we see um from uh Jeweler to Rocket uh how to print effects to audio in Cubase like Reverb or delay so what some people will do if let's say I'm gonna add too much Reverb on my drums here so let's [Music] all right so add an effects channel to these [Music] thank you [Music] [Music] all right we just didn't do project here foreign [Music] okay so let's say we have this and we will oh sorry it's probably what's causing it is so on my qmix all right so now when I come uh we'll add our effects channel to this so let's say I want to add uh and let's add a delay as well [Music] all right so if I wanted to print those you know what you could do is um you know if you wanted to just export you could just come right over here and say export audio mix down and say okay I want to take my two effects tracks we could have these be whatever sample rate and we'll say let's just create audio tracks I think I'll be selected one but I'll just do that again so go to file to export audio mix down select multiple and then we could just say Okay I want to take my two facts tracks create an audio track and then we could have and I have these set to Mono down mix so let me just go ahead and fix that really quickly to export how do you mix down let's see if I can mess it up again so let's say interleaved um so I just want the two effects and uh so this will be my Reverb [Music] so if I come to this particular Channel and we bypass we can just have the effects so so again just come over to export audio mix down select multiple and then you can just print your effects just like that all right we see Jazz dude very Vigilant in his module moderation thank you foreign it came with Cubase Le I use a PC I want to use a pre-recorded as a guide track to make my own Arrangement is there an easy way to match Tempo to the grid so really um so not necessarily in Cubase Le what you can do uh in you know the more advanced versions of Cubase can have automatic Tempo detection um but what you can do if you have the Le version Let me just find track here I think the Le version has the um if you go to Project there's a beat calculator so what you could do is just say okay I'm listening to this particular track so sorry [Music] and this could be tedious but it is the Le version so so we'll say Okay I want to go listen to this and I'm gonna take my snap off and let's say I'm gonna guess that this is maybe one bar [Music] so let's say this is four bars um so what we could do is say okay this is 16 beats and then we could import at selection at this election start so we could just come and at this point um so let's open up a quick Tempo track so we could now just kind of come over and do you know if you wanted to do like a tap tap tempo you could do that but it's not gonna so you know what you should do is just say okay this is four beats long and at this point I want to so let's say [Music] so we'll say from here to here is four bars and then we could just say insert the tempo and we can say okay from here to here is four beats rather inside of bars and then we can say okay let's in uh at the selection start and we could just put in these subtle and say okay we want to go from here to here and you could just say let's import that at this selection start and then you could you know have the tempo map kind of done and you could do that for each beat or each bar that you want to so I think in Cubase Le that's how you have to do it and to get to the tempo if you want to see it visually um you just want to hit it's Ctrl T and this would be your Tempo editor in Cubase Le I don't think there's a Tempo track but yeah you could do it or if you just want like uh you know do a quick tap Tempo you could do that very easily okay so we see Sable Winters finally got the instruments and um content under control right and um I just see from Sable it says don't understand why uh dongle keeps randomly throwing LCC 2 failed uh cleaning up e-licenser memory is it me so you know try to reinstall the e-licenser program and that that will probably take care of it for you Sable uh so you see um Greg wow thanks we love it don't stop doing Live Events ever you guys are helping the Cubase users through this and I want to know the the name who programmed this algorithm and how you guys came up with this idea so if it's with the logical editor um so I think it's maybe referring to this um um where we could have the logical editor Let me just quickly add midi track so we could have something to do logical editing on so if it's with this um you can go to like the logical editor uh I think this is kind of the brainchild of Werner Croc um and you know he's been with Steinberg I think since 1984. so he's had a 38-year career and I think he's retiring I think next year um but if you look at the very first like about Cubase screen and back to Pro 24 you you'll see his name on the about screen so I think he's um probably when he retires he'll be 39 years working on Steinberg stuff so um and it's a brilliant thing you know some people are really intimidated by but once you kind of get the logic um it's incredibly powerful oops all right um so the Heartbreak time machine says I got to use this save as preset a lot more I do a lot of work over and over yeah so presets are always good all right um all right so we have a question uh Greg can you please explain normal sizing sizing moves contents and sizing applies Time Stretch and toolbar uh I'm only using the normal but really want to uh know the others thanks okay so let's say uh we'll go through the three different sizing modes so let's say we have an audio event here I'll just quickly it's in all right so we have our audio vent here so there's three different sizing modes so we have normal sizing which means that as we move the bottom handles that whatever we kind of cover up you know we can come over here and as we move the handles we could just you know we are basically hiding or exposing different parts so if I had cut apart in the audio exists beforehand I could still kind of size backwards so that's what normal sizing is whatever you don't see you know you don't hear whatever you see you hear now let's say I'm in this particular project here and I want this part of the audio to come later so this is when we could do sizing moves contents so as I do this now the beginning part of that audio file is going to just kind of fall where it will and I could even roll back if there's existing material there so this way you can say okay this big hit happens right here and then the contents that follow or the contents that proceed will kind of fall where they will so at this point you know if I want this particular event to fall right on the grid line here that's why I could do sizing applies time stretch so the contents will slip underneath now if I wanted this audio or midi event and you know we could do this for midi events as well so you get to see the sizing applies time stretch or decising moves contents but if we have both of these selected we could also do sizing applies Time Stretch so I can say I need both of these events to fit into that amount of space and it will just simply speed up or slow down the contents Through Time stretching so that all of the events can just say we need to fit into that amount of space and that will just kind of speed up the particular contents if we listen to where they say Okay I want this to be stretched out so we could just kind of so the sizing applies Time Stretch will allow you to resize all the contents and speed up or slow down the the contents uh within the particular event so all right all right so we have a question from Patrick uh is there an easy way to set an output to groove agent to render fast because I loaded samples in all four slots and only selected samples got a lot of empty tracks well render can uh Cubase render only used samples you know so think about it as you know what it's going to do is not necessarily like use samples that needs to be rendered it's only going to be uh content that is based on the outputs that are that are visible so you know and what happens a lot of times that unbeknownst to people without them realizing it is let's say if I go to like a Groove agent setting here so let's say we go to um like this preset so you know what happens without people realizing is like when I hit a particular let's say a kick drum here that this Kick Drum is not only just in the kick mic but we get to hear this kick you know we could see we see like if we wanted the room or the overheads you know when we hit this sound that this particular um you know sound is being sent to three different sources so you have you know the original like multiple Kick Drum mics plus it's being fed into the room and into the overheads so you know we don't think of it necessarily as sample based because if you do that then it may sound really different so you know this is why we kind of have it based upon the audio outputs because that's what's actually transmitting the audio so it's not necessarily the Samplers so just be careful here with the routing and be aware of the routing because that is what is actually going to be rendered is you know again just based on the particular routing and that makes sense because you know it's the sample could go to could be routed to multiple destinations so think of it like that but and if you you know again if I have a particular project here let's say I have a pattern [Music] and I've dragged this pattern out um and we these are going to you know discrete outputs let's say my hi-hat snare room overheads so let's say okay we listen to this output here so and we can now see that we have our multiple outputs so now ins you know and if you're starting with an instrument track so once those outputs are configured correctly at this point we could just go to edit to render and place and I'll just go to my render settings and choose like channel settings or higher or lower visually and then when you render each of the different outputs will automatically be rendered to their own audio tracks so this way you're not having empty audio tracks being created so if it's set to different outputs and if you're in like in a beat agent kit you would just set those particular outputs [Music] um you'll see right here bus one through and you have 32 stereo buses to work with so that way you could uh just do all the routing so it's you know it's not sample based but uh you know the the rendering is going to be based on the audio path and not the samples all right uh so we see from uh Macau uh what would be the best way to reuse external hardware inside a Cubase for example using my Avalon on more than one track um so if you wanted to you know so when we use an audio you know external hardware so if you you know so let's say we go to our audio connections and we have external effects and let's say okay I wanted this we'll add an external fax all right and we'll just call it our Avalon all right so once we're here um you know and and the intention is that if you know you've had Frozen a track so let's say I wanted to I'll just duplicate this track so when I come I can say in the inserts okay I go to my external processors uh my external plugins and say I want to Avalon I go to this track and let's say I want the Avalon we go and it's kind of spoken for already so the intention is that if you had Frozen this track with this processing and then unfreeze it at that point the Avalon connection would still be there so that it's kind of seamless so if I wanted to take if I wanted to use the Avalon on multiple tracks what I could do is just select the multiple tracks like so and just send that to a group Channel so we'll and then on this particular group Channel we can now run the external effects of going out to your Hardware so just like you know because you have one Avalon and you could integrate it with your Daw doesn't give you the capability of having you know multiple different sets of Avalons for different tracks so but if you needed to kind of take a number of tracks and send it to it you know just send those to a group and then from that group you could at that point feed it into the external effect all right and great to see you on the live stream okay all right uh so we just see uh how do you initially set up routing from each instrument to the qmix okay so this is probably doing with headphones so let me just jump so the easy way to do it okay I'll revert this okay so if you wanted to let's say we have all these instruments and I want to send them to a q bus kind of right click in an empty spot on the control room and then you'll see all cues so let's say we want to activate the Q sends and at this point we want to use the current mix levels and then once that's done we go into our large mixer all of the routing has been done for us so we go to our cues open up our cues and then all these tracks have been sent to all the cues so just kind of in a blank area right click and go to all cues and at that point um activate the cues and you could send the current mixed levels so or and the current pan settings and then you could tweak the levels to each of the Q mixes accordingly all right so we see Spike Williams just saying darn I didn't get a YouTube alert and got confused about U.S holidays better late than never greetings from the cold dark whales so yeah I'm glad you can make it Spike and we'll be going for a while all right um yeah so next and again next Friday uh is a holiday in the United States so we won't be having a live stream on Friday foreign okay sorry my Chatfield jumped on me okay uh so we have a question from sleeper sounds uh is Steinberg ever going to add a mono to stereo and vice versa switch for tracks and an easier way to have automation for clip gain um so you know I I know it's been in discussion and I know that you know um you know that they understand that you know people want the ability to just have a quick mono to stereo um as far as kind of clip gains you know if you grab the pencil you know and this is really more to accommodate um you know a particular uh what used to be called Dynamic events and Cubase um VST kind of pre-sx days um so but I you know so I think that's kind of a holdover for people who want that but you could always just come and there's a key command for you know increment or decrement volume where you could do this you know in One DB increments via a key command or like a control surface as well but I'll make sure to pass on another customer wanting to have the mono stereo and stereo to Mono switch all right so we see uh Greg what's your statement to some who tells Cubase is very old in terms of design and looks still there are some people who see beauty only in it looks uh what's Cubase thought on this uh yeah you see you write Cubase but I can't really make out the Emoji so you know there's always you know there's kind of you know tried intrude Audio Concepts and midi Concepts um and you know we've had you know people like I've been running Cubase you know over 31 years now so I don't so you have to you know find the correct balance of being able to still have people's you know ingrained workflows accommodate it but still you know coming up with new features but without interrupting existing people's workflows so um I think Cubase looks great um it gives you a tremendous amount of information uh on your screen so yeah it does a lot um and but you don't have to use every single feature but you know like my friend Craig anderton put a great once he's like he's like well if any program has a feature and if any program can do a particular function it's going to be Cubase you know and I can't say that with any other program so you know I think being able to accommodate so many different workflows or some programs really predispose you and you see that everyone works the same way because of kind of a design intention of the program so that's easier to use but it may put your kind of artistic efforts it may inhibit that because you can't really go beyond what this particular you know software company thinks you should work so Cubase you're able to work how you want to work and you know I hear from people all the time it's like oh Cubase thinks just like me and you talk to them like a group of people and you know they all work completely differently so but I think it's pretty cool that you could have Zed and Stevie Wonder and Hans Zimmer and you know all sorts of other people in the world you know in just varied workflows and genres that all can use the same tool creatively all right so we see rude screen on so thanks for joining us today um it's a jeweler to rock says what's the precise Tempo uh precise Tempo detection technique to detect a beat Tempo that's already been mixed thanks so as we come back you know the tempo detection does you know pretty amazingly well so let me just activate this project not reverted since I've destroyed it here so if I want to take this and there's no I'll select the event and there's no correlations I go to project and go to Tempo detection so let's say analyze I'll do an offbeat correction and even if I want to take like you know another track I could come here let's just import quick audio file so it's like okay I wanted to grab let's do a different project just to show you again how easy it is so say like so I'll just take this one does it say no Tempo here you know really and again go to Project Tempo detection analyze [Music] foreign if you're doing for audio or midi works great for that so all right wonderful to see Gareth on he wants me to stop playing with my bottom handles and exposing different parts so it was a little rude of me so all right uh so we see question uh can you talk about the automation options so all right so let's say if I wanted to do I'm not sure if it's let's say if I wanted to just do quick automation on this so I'll just open up my fader here so let's say so I'm going to click on W and R and I could write my automation now there's an automation panel if I hit the right modifier key uh which is F6 and here we could have like you know different automation modes so like if if I just wanted to make an adjustment here I could have this in touch and then as I just let go of the mouse as soon as I touch it it's going to write automation and then it'll stop writing automation when I'm there so let's say I'm uh wanted to do auto latch so today I'm here and I want to automate so I'm in Auto latch as soon as I kind of grab this down and let's say I wanted to go back up so you could you know just have it kind of kick out when you kind of let's say I just want to do a quick so um you could have it kind of automatically latch you could also do kind of trim so at this point so what Auto latch will do let me just take it on trim so if I wanted to just stay at a particular automation value until I stopped I could do that so let's say okay I wanted to but I don't I want to let go of it I could just now kind of write that automation point and it'll put the point where I stop um if you haven't gotten to a particular track um like let's say you're in the third verse I could just say okay and I get to this track I could say if I enable to start that will write whatever automation value it was at the start of the position we could also do it in the end uh if we have it in Loop mode so now if I wanted to just set a value within a loop I could we'll just activate Loop here so it's uh [Music] so now if I have the loop activated I could find my particular values like I wanted there and then when I hit stop it'll just write the automation directly there we could also like let's say if I was eq'ing uh so I'm here and I'm adjusting the volume but I wanted to suspend reading and writing of EQ so what happens a lot of times is people maybe like adjusting levels and they're like oh I'm here I'm just going to adjust the EQ and then inadvertently they wrote automation of the EQ so if you wanted to come over here and just bypass the EQ I could suspend writing and I could just make changes here and I could suspend reading or writing of those changes so I could dial this in without automating all the different parameters and if you wanted to show different parameters so if we had multiple tracks like I say let's show all the volume automation let's show all the panning automation Dynamics sends inserts or show used so and if we wanted to do more kind of detailed automation handling I could come here and say okay I just want to take this and if we wanted to edit I could say Okay I want to bring that all up or down I wanted to um kind of compress or expand the contrast in the automation or if I wanted to bring that down and tilt it up or Tilted at the beginning Until the End down we could do stuff like that very easily as well so and there's some other settings here so if you wanted to show data on tracks so you could actually see what the waveform looks like on particular automation tracks you can do that as well so those are a couple of things all right so we see from BT Studio it'd be great if you could use some uh same ports multiple times and external effects that way I can make an external effects to use in Stereo or dual mono so if you go over here to your audio connections let's say you go to your external effects you could add to favorites and then you could have it configured as uh one favorite for stereo and then as we come over here you could choose a different favorite for dual mono you could kind of think of it like you know it's kind of like a preset um so you could you know so play around with the favorites all right so we see Gareth just saying Groove agent is the bomb homies so it's good it's pretty powerful all right great to see best green Jesus on all right so we have a question from Balsa um hi Greg does the order of the sense from top to bottom in channel settings affect each other or not I assume they all have their own independent signal no matter what the position so the sends are all going in parallel paths the inserts will be processed in order from top down but this ends will all be going in parallel paths so it doesn't really have that much of a you know so the order doesn't really have any impact on Sonic characteristics thank you see Gareth has gotten one gallon of chocolate chip ice cream from Gareth or from Michael teams rather all right so Michael teams wants people to whack the like button and Garrett says wakanda so all right so we have John Costigan just ask uh hi Greg uh are there some Groove agent se5 kits that won't show the full mixer view I'm having trouble with ambience one not showing the full mixer the drum setup view what am I missing all right so let's take a look foreign you know so this is a beat agent kit so so if I come over here so when we have a beat agent kit we don't have kind of you know so we still have a mixer so if I say okay I wanted to come over here to an AUX send but the mixer in a an acoustic agent kit is kind of looks more like traditional uh recording equipment and you know faders but inside of this is more kind of like an MPC Paradigm so if I wanted to you know add a Reverb I could say okay this opposite here a little better so at this point we could add our effects to kits to the master or to different and to access the mixer we would come over and I think if we go to amp you know we could now see all the aux sends available here so this way we could have four aux ends but it doesn't have the traditional mixer that you would get because it's a beat agent kit so it's kind of a different workflow as opposed to um like a Simon Phillips kit where we have like the picture of the drums and so now when you get to the mixer with an acoustic agent kit um you know you see kind of these traditional more like recording equipment Styles and processing and beat agent kits is more kind of for sample manipulation so the ambience one is a beat agent kit John see I need to update Greg so I mean maybe it's an older project that I'm opening but a latest version here all right uh so from Harry all we have questions uh would it be possible to find a wave of a clip uh reverse in media Bay I would love to select the clip and let the WAV file and meet in Media and let find the WAV file media Bay automatically if it's there for sure um all right um so I'm not just so see if I'm understanding so I'm not sure if you wanted to take an audio file here let's say that you did let me just drop a loop in quickly for this [Music] all right so let's say if I wanted this and let's say if we reverse this particular event here so say let's come over here to process um so I'm not sure if you want it I'm just going to reread it here Harry again so it says uh would it be possible to find the wave of a clip reverse in media Bay we'd love to select the clip and find a WAV file and media Bay automatically if uh if it's there for sure so you know so in media Bay it's not going to automatically point out um if you know the file is reversed or not because it just sees it as an audio file so you know if you want it to look in media Bay and say okay I want to find all of reversed audio it's not going to do that unless you specifically name the file reversed or you know something like that that you know but media Bay will just use names and other kind of metadata but you know when it's an audio file is reversed it's still just kind of an audio file itself but let me know if I'm misunderstanding Harry all right uh so we see from DJ showcase uh would it be possible or do you already have a video dedicated to supervision so there is a video I think I did like a 12 or 15 minute video in supervision if you look in uh on the Steinberg on the Cubase YouTube channel look for a Cubase 11 walkthroughs um that I did a whole video on supervision so it's already exists there and if you have a hard time finding it just let me see Michael teams it says uh everybody compares to Cubase there's a reason for that so it's well put all right so we have the two stir checking in from Germany thanks for being on all right so we see Gareth has a terrible guitar piece coming on so we'll send it on over I'll be happy to hopefully uh play bass on it all right uh so we see hi Greg what's the best way to level up vocals that are uneven in volume you know so there's a couple of different approaches to so if you run into uh let me see if I could create a scenario here so you know obviously using a compressor plug-in is really kind of the intention of compressors is where that's to take kind of the softer parts and raise them and the lower parts and lower the volume so just open up this project here so you know you could do it kind of manually you know if you wanted to just kind of split you know like but let's say if I had um a number of tracks and some were too loud and too soft it says as we listen to [Music] um where do I go from here where do I go from here foreign [Music] levels so you know a lot of people will just kind of come through and cut and you know raise then do clip gain uh and that's it's a very viable method like every friend who does that and Barbra Streisand records in Cubase um but so but if we wanted to just come over and say okay let's go to inserts and you know just go to kind of standard compressors so this way we could take uh that vocal and as it's softer [Music] you set the threshold so we will see that [Music] is it less processing there so that things are kind of even so so now this track is allowed this part's loud will be compressed so you know you could do that or you know simple automation being able to you know ride to fader you know and be able to record these changes or just kind of do it via edits but you know that's really kind of the classic case for a compressor is like you know I want to keep the base level and keep the vocals level so every word is you know intelligible and understandable all right wonderful C Graham Witcher says soon it will be Christmas yes and we hope your move is going well Graham and we realize how terrible moving is so I don't envy you all right so we see Randy is having surgery um he says howdy to everyone we tell him we hope that his surgery goes well all right uh so we see why does the uh TD always default to one quarter um so is that time display or um so uh or if it's snap value so uh maybe garethy sorry I'm just having a brain cramp what TD is so all right uh so we see Greg I have uh 12 different kind of percussion tracks is there a way to add swing without quantizing swing and I want to change the swing at any time as I wish is there a way so yeah so let's say go to this project here thanks for all the great questions from everyone and if you've learned a new Tipper trick make sure you hit the like button and subscribe to the channel if you haven't done that foreign the most Suburban drum beat of all time here all right so let's say I just want to come and [Music] okay and foreign we have just kind of like totally generic [Music] all right so if you go to it if it's with midi stuff you can go to the midi inserts and if you wanted to add what's called a quantizer plug-in this will just kind of it's not going to actually change any of the midi notes so I'll just make this a little larger here so now if I wanted to add more swing and then again this is totally kind of like almost like a playback [Music] so if I bypass it [Music] then say okay let's make the swing kind of based on eighth notes foreign [Music] that off [Music] so you know experiment with the quantizer plug-in and then you're not actually it's affecting it during playback and it's not actually altering the data in any way as you can see so turn it off straight and now we swing [Music] so let me know if that works for you Patrick all right so we see uh Cutler station just says Greg thanks so much for your help love this stream so glad it's helpful thanks for being on and being a part of the live stream see Garrison apologizing for his childish joke so there's no childish joke so we like your childish jokes Karen please don't stop all right so we see from the studio International Cubase is a very best best weather Daw comes with a Greg with all the knowledge twice a week and free thank you Greg so very much appreciate it so thank you for the kind words I'm glad to be able to help people all right uh as we see Tempo detection says I have a live recording box and piano Tempo cannot be uh detected directly can I somehow record a midi click track me clapping along and turn this into a Tempo track um okay so let's come over see if I still have one of those tracks available um yeah so let me or I'll just do a new project here foreign project here and we don't know what the tempo is all right so sorry [Music] all right so I'll just turn this down to kill all right so I'm gonna just add a midi track and what I want to do is I'm just going to record just a single note here instead of stopping on quarter notes I'll take it out of loop sorry about that just the way it seems to be so just tapping quarter notes on my controller recording that into a midi track [Music] [Music] famous [Music] all right so now I've kind of did just uh top Tempo here on midi so if you go to MIDI and then uh go to functions and you'll see merge Tempo from tapping say okay I was tapping quarter notes uh and at this point just hit okay and we go to look at our Tempo track we can see that we could have our Tempo track created just from the tap Tempo that we just performed in so uh just record like a single note and again go to MIDI menu to functions and merge Tempo from tapping and you can choose words on the downbeats like every beat or the one of every measure something like that foreign all right so we have a question uh looking to figure out how did Time Warp drum tracks is there a way to warp all tracks at the same time instead of having to go through each track individually I know there is group edit so this could depend like this came in uh version 12. so let's say we'll go back to this project and you don't necessarily have to um we revert it it helps if they're in a folder and you can do phase coherent warping if you wanted to so if we have it in a folder but you know really it's just having the events selected so let's say I want to take all of these particular drums here and I'll just drop I'm going to switch to the free warp tool and say okay I just want to come over here and we're going to put in our Warp markers so you know we could choose to have these be you know phase coherent if you wanted to like on the folder track so we could say okay that's we hit the phase coherent algorithm so I'm just going to drop markers we could do this via hit points you know more automated as well um but now when I do this and I adjust one all the tracks will Warp just that easily so so once they're all selected and again this was in version 12 so it was one of the big things that came in version 12. so you can say okay now so it's based upon the selected events so now we'll come here say okay we want to get this snares or the hi-hats on this particular event and you could have a kind of snap and as we want to warp all these we could just warp multiple drum tracks all together like that all right so we have uh Phil Bartlett checking in this is good morning from Victoria Australia thanks for joining us from Australia it's one of my favorite countries I ever visited so we see the Heartbreak time machine says uh and New Jack Swing is old to newer gents so classic swing is a great swing so Teddy Riley is still doing huge hits and a lot of the great K-pop stuff you hear is uh Teddy Riley's doing a lot of that stuff so it's a big Cubase nut all right sorry my Chatfield jumped on me to Garrett just as the compress expand tool is a genius ideas all the time uh so did you see uh Greg why don't Cubase do some simple one or two minute videos like most underrated or unknown workflow and editing tips uh like you shown today uh Ctrl K I would never know this without Greg or or without it be on live so yeah a lot of those you know I have you know if you go through all the Cubase videos you know you know I probably have several hundred just shorter tutorial videos as well so go back through all the old ones as well but um they do have kind of a whole series and hopefully when things slow down a bit over the holidays I should be getting some other short tutorials available as well and Garrett says uh okay so you see from uh Jan or Cubase index so we see Phil Bartlett uh is just asking sorry uh Jan uh can we ask any questions you know so preferably on Steinberg stuff but you can ask any questions so I'm you know I'm an idiot with other topics so all right uh so we see from Jan uh can Greg discuss time code when do I have to learn time code and how to use it update origin media pool event time code position thanks John all right so you know there's when we actually um let's say we record audio into Cubase so I'll just do a new project here so often when we people say time code and maybe um you know like simpty time code or midi time code that's used to synchronize Cubase with other devices where it's kind of a common reference point um so say if we come here and I wanted to record audio so let's say I'm here you know and now I record an audio event all right and we look at our time code in seconds that we'll see about a little after one minute 30 seconds we'll stop and when we go to and this time code here is often what we call a time stamp so it figures out exactly when that audio file was recorded and this will be reflected uh directly we can see it in the pool window so we come here to look at the audio file and we'll see An Origin time and that is kind of the time stamp so we can say okay we're at the origin time here so let's say if I wanted to switch this to you know bars and beats so we can see our origin time just kind of laid out for us right here we'll see the date and the origin time now what the origin time is going to allow us to do is let's say I was giving this file to someone else in a different program what we could often do is kind of move the file to its time stamp position and how we could do that is if you go to edit and then select move you'll see move to origin and what that's going to do is move that particular file to the timestamp of where that file was so and generally that time stamp is going to be represented in time as opposed to measure 13 Beat 4 because if it's represented in measures it varies depending upon the tempo so that would affect the time so it's going to be an absolute time position so if I move this file let's say I wanted to update the timestamp I think we come over here to audio um we could choose update origin so when we do this now when I move the file and we choose to do a move to origin at that point it's going to go to that new time stamped position so often when people are taking audio files between different programs you know they'll create stems and it's like okay you know be cool make equal length audio files of everything and then we could just take it into other programs and say you know start this file at this you know at its original time and then all the files will kind of be lined up directly to their original time all right so we see a comment from Garrett says spent decades in Cubase but then I found Greg's Hangouts at the beginning of the pandemic and his knowledge exploded it says uh you are the guru Greg thanks for everything so I'm just glad to be able to help and I it's you know I think the live streams are great because of all the people and the people don't ask great questions and the live streams would be boring you just hear me talking a lot all right um so you see from BT Studios is Stereo de mono or two mono to stereo and it's project to convert tracks so I'm not sure if that's I'll show the feature just in case people um need to see it or if I'm not sure if it's a response to someone else's question but if we have an audio file that's in Stereo and we wanted this to be like you know two mono files we good project here um and then we could say okay multi-channel to Mono so and we could give a different naming conventions or we could say I want to take my multi mono to an inner lead file so we'll come over here and we'll say convert tracks so mono to multi-channel and then we'll choose this to be stereo and hit OK and then we'll have our stereo file back good see the Heartbreak time machine just says uh it says right I've been using Daws for decades in these streams make me feel like I'm on my first day haha so I usually learn a new Tipper trick on every live stream as well all right thank you all right so you see from BT studio uh version 12.04 to 12.05 so I think I'm pretty sure I'm running the latest version so yeah you see 1205. so so my projects may have been created in 1204 and sometimes that shows up and be right why are you running Cubase 10 so okay um all right so we see from Phil Bartlett uh hi Greg I record jingles and it had to be exactly 29 30 seconds Etc uh how do you stop playback at uh exactly 30 seconds also in uh fit time calculator you know so if you want this let's say okay I you know let's come over here and okay so you know you could have ruler tracks and ruler tracks will show you kind of bars and beats and or time so we come here let's look at this in seconds all right so let's say at 30 seconds um you know we want to have a marker so I'm going to come and just have add a marker track all right and right at that point I'm just going to drop a marker so we say Okay um and at this point I think you could go to transport and you could just so let's say maybe my project uh it's all mixed and everything is uh but it's hanging over a little longer than 30 seconds so I could take you know so uh but let's say if we wanted to play to the marker I think if we go to locators um that there is play until next marker function so that way it could stop right at 30 seconds if your marker is at 30 seconds um so so you could do that and that will stop at that particular time so let's say we have audio that is when we look at this um and I'll just switch my time code here and we see that this is 34 seconds long and I need this to be 30 seconds long um you know you could just simply come over here and say audio to processes and then if you go to time stretch you know you could take the Final Mix here and say okay it is um 34 seconds long I need it to be 30 seconds long so it's like okay I need this to be 30 seconds or 29 seconds so once we apply that we can see that now our mixed down audio file is 30 seconds long exactly so um and then here's different quality algorithms for that so that's an easy way to always make sure that you're at 30 seconds um and if like we showed earlier maybe I'm not sure if you saw sorry but you could just say sizing applies time stretch you can say okay I need to go directly to this marker point and then you could just time compress a file to automatically fit in 30 seconds or so so let me know if that's helpful for you and thanks for joining us all right so we see from John koskin uh thanks Greg it is a beat agent kits uh answer to dumb questions are greatly appreciated so the only dumb question is not asking one so all right um so I just see a question um could you please show us how to implement the new QC layers and switch uh them from page to page with eight knobs cheers okay so let's say I have um I don't think it's really quick control layers but if you wanted to control different elements so let's say on this particular um track I wanted to have uh let's say a multi-band compressor because those always have lots of great parameters that we need to address all right so we'll open up this multi-band compressor all right now when we look at this there's a little drop down menu in all the plugins and we could say let's go to the remote control editor and at this point we could see our plugin and then we could see our remote control editor so if we wanted to capture you know a particular function I could say I want this knob to capture threshold so I could come here and adjust the parameter and this is assigned so we have like you know eight controls but we have let's say nine Banks of eight control so we could assign these two our different parameters and once they're set up it's going to be saved with your project all right so once we go to the generic remote or the midi remote rather so we'll come over to the midi remote and let's say I want to take uh I'll do it from my my Korg Nano control all right so and what I had set up was two buttons here and when we look at these particular buttons we could say okay this is assigned you go to selected tracks and then I could say let's go to insert and strip effects let's get to our insert viewer to parameters and then once you go to actions you could say next plug-in parameter Bank or previous plug-in parameter bank so I assigned those to two different keys on my Nano control so this this button here is for the next plug-in uh parameter bank and this is for the previous plug-in parameter Bank and then I assigned each of these knobs here so when we double click we could say that this is um just see if I overwrote so we say that this is going to be parameter one so and at this point I want to take I'll select this particular and I just reset this for a different one so I'm going to come over again to this and say this is parameter one let's say I have eight knobs all right so now this is assigned to this bank and let's go to parameter two apply the mapping parameter three so I'll move the fader here so let's apply the mapping parameter four apply the mapping all right so and I'll just continue on all right all right so now when I want to control so I have eight parameters that are defined here not necessarily the quick controls but parameters because we don't want to be limited to eight so now when I open up this I can control my defined parameters right here and then when I hit the next button so come here and now I can control the different plug-in parameters directly here on Bank two so I go oh let's go back to the the previous Bank and let's say if I don't clip so I could just come right over here and Bank between the different plug-in parameters here so instead of only dealing with eight here I could just Bank to the next parameter bank and just have all those configured exactly how I want in the order that I want so and that was a great addition to Cubase 12.05 all right yeah all right uh so we have a question from Patrick uh he says uh grego percussion Loop which contains four different drums was dragged into sampler tracks sliced and recorded on my own uh and recorded my own pattern I want sliced parts to be rendered on different tracks like separate drums okay so let's come over here let me just open up I think I will see if it's still in recent projects here all right yeah all right so let's say we have kind of generic drum Loop so I'll hit play here all right so I'm going to drag this to my sampler track and we want to do slices okay so now each of these different elements will be sliced so what I want to do now is just say okay I'm going to drag we see the little midi icon I'm going to drag that midi icon to the track all right and this is created now let's say are different and let me just actually get it right on all right so we'll solo this and now when we place back so if you wanted to separate these um so let's say okay and I'll just audition so say kick okay so I could copy these so it's copy I'll just duplicate this track without events and here's one way of doing it and I have way more macros than most people but it's one of the included macros so if I wanted to come here I could say okay we have let's say these foreign so I could cut paste so now when I do this let's make sure it's still going to the same sampler track but then what you could do is just kind of copy and paste you know the hi-hats and snares and copying two different ones now if you do this inside of if you have the full version of GrooVe agent um which you know because this is also pretty easily done inside of GrooVe agent but the full version and I'll just show this in the full version of GrooVe agent as well so hang on just let me just and this is on sale with is part of the complete as part of the uh absolute collection but I'll just add I'll show you something cool you could do and this isn't in Groove agent se but in the full Groove agent but now if I drag this over and select for this type of stuff so we'll come over here slice we could do this in uh Groove agent SE so now each one of these will automatically be sliced but the full version has something where let me see if I can remember how to get to it um it's like a classify where you could kind of basically have it automatically um classify the different sound so that you can you could it could detect uh like kicks in snares or common sounds between them haven't done this in a long time um but let's say uh and I'll show you even in Groove agent SE um I'll show you another approach to this which is included with Cubase so I'll add an instance of group agent SE and let's say I drag that Loop in and this is again included so we'll come over here to slice we'll create slices so I will say let's send this to output two that to Output to so I'll take my kicks to Output two and my snares let's say to Output three so now if I have um so and this automatically creates the file so now if I wanted to automatically split that now that they're going to different outputs I could come uh to edit and then let's get to render in place so if I wanted to go to my render settings and now the kick and snares will all be rendered so you could have kind of the individual elements automatically rendered onto different tracks so uh Groove agent the included Groove agent SE can do that for you pretty quickly all right so you see from Filter freak uh says sorry Greg's talking about VST plug-in qc's not tracked qc's let me see if I could find the uh the original question quickly about this I don't see it I mean it may have scrolled off from the original but maybe if you could ask again real quick I could still get to it and see if there's a difference that I can point out to you filter freak sorry about that and just reading through it again see if I see the original question I don't think I can go back and see it but I'm just gonna read through it again foreign s here all right so we see Phil Bartlett had his hip replacing he's watching from the hospital so dedication all right um so we just see from Gareth uh sorry Greg uh I meant Tempo detection I'm sure there's a valid reason just wondering why after Tempo detection the time signature always defaults to one four um because it's actually figuring out what you know the tempo detection is working on the beat but it you know we don't assume that your song is in 4-4 it could be in three four two four five four six four Etc so we don't want to necessarily assume that your song is in 4-4 so that's why it kind of gives you a generic um a generic meter that you could set like especially if you have pickup notes and stuff like that so that's the the reasoning behind it so Valley is saying maybe one day there will be a search function in the preferences well if if that happened then I I may you know it not having a search function helps my employment status so all right uh so Phil Bartlett just asks um how do I reply to comments first time on so I think maybe if you just uh type maybe type someone's name that you could just kind of enter in and they'll be kind of tagged all right just reading through comments see the two stars saying mind blown great stuff and Gareth is labeling at the mind blow of the day as opposed to Revelation so it's good foreign Chatfield jumped so I'm just trying to find my spot okay so we see from uh Valley uh what's the automation writing thing with Virgin Territory I can't find it also I don't know the difference all right so let's say if we have um automation going on what Virgin Territory is and if you go to the automation panel or hit F6 we can come up here and go to settings and then there's use Virgin Territory so this way when we it's not going to necessarily write or have automation values that weren't written so when I come to this particular track and let's say we go to the fader so if I just automate also if I engage automation so let's say we're in the middle I'm going to just come here and foreign automation there's no kind of connecting lines so this way if I rewound to here it may not have an automation value that it's kind of going to until there is an automation point that was written so that's kind of the intention now if you wanted to join the different areas that were separated by virgin territories you could again just come over here and say um so if you go to let me see if it's under that you could choose to fill the gaps and then the different areas between the different automation will be kind of filled in so that if you rewound here that it could be at the previous point so sometimes especially in post-production you may want only want automation where you write it and you may not want it to jump if you were here at the last value and you jump back you may not want it to uh to go to an automation for a part that that played previously that you're not listening to so that's kind of the intention of Virgin Territory all right we see uh Graham's comments and we hope everything goes well with your new family situation so hmm all right so we see uh Cutler station says wow now I need uh version 12 Amazing Greg thanks to you and the team so I didn't do right I didn't really do anything with coming up with the great features all the smart German people did see I can't really take credit for it I just show what they make all right so we have oh well from Switzerland thanks for joining us foreign so we just see uh friends is there any K-Pop producers that use Cubase you know Cubase is very popular uh in Korea and for K-pop I know I think Michael teams had um yeah you see he just says jyp uses Cubase but there's a lot of K-pop stuff that's being done in Cubase all right so we see Graham Witcher just says the timestamp for audio functioning Greg just demonstrated it shows how incredible the die is and just record audio and that's it it's really an Alice Through the Looking Glass with Cubase foreign Jazzy lamell hey Greg uh how do we how do I generate a simpty Time code from Cubase I'm trying to sync a client's adats um so the eight apps if you have nine pin like Adat sync that's a good way to do it um and if you have like a BRC unit and there's like even Steinberg Back in the day like 93 94 we had an Adat computer interface that would allow you to do midi machine control for the adats it was actually designed by uh Marcus Ryle who you know came up with lots of products for oberheim and you know the founder of line six but if you want to be able to send time code and have like a tape machine synchronize and have Cubase be to master which kind of makes sense uh we can create an empty audio track all right so let's say okay we're going to create an empty audio track and we want to you know have it go directly out of an output so because we're it's actually going to be an audio signal so it's like okay I want it going out of my right output and at this point uh you'll go to inserts and let's go to I think it's under Tools and you'll see simply generator you could set your frame rate um and now when you do this I'll turn the volume down as you play it'll just generate simply time code so we could just come right over here and have simpty so this way Cubase could be the master and we have people that use this with kind of older consoles uh to kind of Drive the automation of the consoles um so they can hit play and the window or Cubase and the time codes being fed out to the console and the automation if they need to sync the automation of the console up you could just simply have Cubase be the master so you could you know switch different frame rates so if you wanted to you know come over here you could just have it automatically generate code or lock it to the transport so that's how you could have Cubase automatically um you know generate simply time code for you so it's a great feature I think the story I heard once was Charlie Steinberg forgot his sync box so he just wrote this empty time code plug-in back in the day foreign easiest way to find your favorite plugins in your own folder to quickly access them this from Benny I think um yeah so all you have to do is come to um your studio menu and go to VST plugin manager um and here we could create a new collection so we could say Okay I want to make an empty collection so we'll call this my faves uh and then we could just say okay I like this one I like this one I like two different eqs so I'm gonna put these into an eqs folder so we'll say Okay I want the curvy queue and I want frequency so you could just come over here and select you know your different cues that you want so you say Okay I want this and this and this and that EQ and I want to drag them into the folder and then you could name the folder so you could create your own kind of plug-in collection so you say okay I like you know I I did the Black Friday thing I got 50 plugins for 50 bucks and I use three of them you don't have to see all 47 of the ones you don't intend to ever use foreign Greg I usually put pad and some percussion elements into a group track and I automate with Alpha to get a side chain effect with Ableton is easy but I feel it's harder on Cubase can you show us how to do it Okay so to project here all right let me just let me just see if I can find a quick percussion foreign all right let me just all right so let's say I have that I'll just bring this up and we'll [Music] all right and foreign pad see if it's in this one okay so let's say [Music] all right so let's say I'll just all right um so you know one of the things that you could do if you haven't really you know played around with FX modulator so you know there's there's ways of doing different lfos if you wanted to let me just throw like like a kick or like quick kick Loop [Music] Okay so all right so let's say if I wanted to um you know just do you know if you haven't checked out like the um you know so let's say if I wanted to come here and do different LFO type of effects you know check out like when we go to FX modulator so if you wanted to just come up so it's a under modulation so say okay I just want this to do um let's say I want on the pad here and I want this to do panning so come and we'll I'll run the FX modulator here [Music] so I can say okay let's just grab scanning on this and I wanted to add in our module that was volume so just come over here [Music] so I'll just [Music] foreign go [Music] and then if you wanted to just come over and just drop in different lfos you could do that and let's say Okay I want to take this and run it through you know different um and if you wanted to add your own shape [Music] or be able to kind of [Music] so let's say now we go come over here to volume it's okay [Music] then let's go ahead and smooth that but [Music] so maybe I wanted to come over here and also just say um so as soon as we come over here we could solo you know different components of it and if you wanted to just solo thank you know all sorts of great stuff that you could adjust here so it's like okay you know I wanted to come to the painting so you know play around with this plug-in if you wanted to and you could run this on different stuff so it's a I wanted to come to this track so again FX modulator and you could have up to six different FX modulators so it's a okay this I want it to be um let's say filter [Music] so you could just kind of come over here and do all sorts of alpha effects using that plug-in so there's other LFO methods but if you haven't really explored the FX modulator please take your time uh to spend time with that so all right see Michael teams just says time compressed the file Revelation a day for me uh that's such a simple fix for a problem I have so all right so we see Peter from Montreal thanks for joining us all right and we have ubuken from Nigeria thanks for being on all right so we have a question from Matt Lewis uh says hi Greg sorry for the basic question uh could you explain your definition of mastering a track please so often you know the production process will be okay I'm gonna write a song and then people will record it and then mix it now once the mix has been completed often it goes into mastering mastering was kind of often traditionally a another level of quality correction and let's say you mixed your project in different Studios and different time periods different formats different tape machines different consoles and they all sounded slightly different the mastering would kind of make the all of the mixes sound cohesive together so like when you're doing an album project you wanted it to make sure that you know one track wasn't softer you know and One Track wasn't 6 DB louder than the next track so mastering is going to allow you to kind of take that consistency and put the final polish on your production a lot of people think of it as oh it makes my project louder so people often kind of do gain adjustment and like compression multi-band compression and limiters in the mastering stage to kind of get it to you know like a term I hear I used to hear in Nashville all the time it was like you know I want to hear money out of the speakers you know to kind of make the mix you know kind of sound and pop versus other projects and that's often kind of done in the mastering stage so it's kind of taking not the individual elements but kind of taking the entire file the mixed file and then enhancing that and adding a different level of quality assurance to that some people use a dedicated program like wave lab some people will do processing inside of Cubase either way would work all right so see boss is just saying uh thanks Greg for the help the peaches and mountains and Montenegro are awaiting you so it sounds so good all right so we have Mr O from Columbia thanks for joining us uh it's a quick question any tips on mastering tracks for vinyl release using Cubase 12 Pro I messed up previous attempt really badly uh very embarrassing so I realize that a lot of vinyl you know you want you know the one thing that people kind of aren't used to uh in preparing files for vinyl you know because vinyl was kind of a limited frequency response so you know they would put circuits in to make sure that the base would uh come through and be enhanced because if you if you cut the record you know deep enough to add the base you know or if you added more bass on the vinyl there's a good chance that the needle could kind of pop out of the record um so you know so some people will treat it slightly differently I know some people just kind of you know do their mastering and don't really consider the format so much um so but you know but you know if you figure out like what your mistake was so you know the one thing I've heard from a lot of friends is you know oh I'm not used to having to dial down my base because the stylus will you know the needle will pop out of the groove so stuff like that but I haven't done any mastering for vinyl in years like 30 years okay all right so we see Mr O just saying oh my God he didn't know that Groove agent could split drum loops and samples like that so all right so we see a question um can I use Dolby Atmos with stereo sound card so what you need to do if you're doing kind of an Atmos setup is um so it's a if here I'm at let's check my sample rate so let's say I'm at 48k on my sample rate um so you can do you can monitor binaurally so let's say um and I go to my project what you have to do and it's not the most ideal circumstance but it gives you an idea what most of the people listening to Dolby Atmos so I'm going to go to my setup assistant uh we'll just kind of check all the boxes and what you need to do is uh on the trim endow mix is just to select binaural in an Ideal World you'd want to mix with multiple speakers you know like 712 setup or 714 that's the ideal scenario but um you know you can do it with the stereo sound card you just need and this is where like you know you're going to monitor not with speakers but with headphones so but you need to end the ADM authoring for Dolby Atmos you just need to come over and you know once you have the renderer is just to to select binaural and then you'll hear like different sounds kind of Pop around and move around in your head so it may not sound as convincing as discrete monitors and that's the ideal format but most people aren't listening to discrete monitors on playback hmm all right sorry my all right um so you see Mr O just saying I was right about his sample from the original samples were indeed in Stereo so that's great um yeah look forward to your email so glad you got it figured out um so we see from uh relaxing sounds uh we'll amp envelope automation be fixed in Groove agent it hasn't worked for two years so I I did pass that along to the groove agent team so um so hopefully they'll be able to kind of take a look at the issue or if it's an intentional thing or an oversight but I did pass it along so sorry about that all right um so we see uh from Gerald Ely from Martinez California thanks for joining us today uh hey Greg when I browse I found a media Bay what's the best way to add it to favorites okay so what I would often do you know like I think of you know personally I think of kind of um you know favorites as being kind of set up for uh folders but what you could do is in if you wanted to come over here um and let's just say I'm gonna switch this here I'll just show it on the large media Bay for expediency sake all right so let's say I'm looking at my factory content and I really like um you know like particular Loop or sound um what I would do is just say okay let me just so we'll say Factory content and I'm just going through you know different audio files here is there is a rating system so you could actually just come here and just put like you know five stars and then you can say okay like this one I only want to see four stars this is terrible I don't like that and then you could actually just say oh show me only five star um files or show me one star files or show me four star files and you could so as you're going through and you could have these uh ratings automatically show up here in the media Bay as well so let me just so if you just kind of put your rating here um so as you you could just kind of slide over and as we do this we could just say um in this and then you could you know put ratings in so you know experiment with ratings as well so okay just reading through different comments all right so we have a question uh from Emmanuel Morin um I have a song and a wave track I rearranged a sequence with the arranger track how can I export the new arrangement in an MP3 file okay so all you have to do is let's I'm going to add a quick the ranger track here okay so now I'll come okay so in the arranger track if we come over here what you need to do first is to flatten the chain and then once you flatten the chain that will copy all of the parts out for you and at that point what you need to all you have to do once the chain has been flattened is so that kind of takes your non-linear Arrangement here and again I'll just say we'll do the current project here so and that will take your non-linear Arrangement and turn it into a linear Arrangement and then once that's done just do an export audio mix down and choose MP3 it has your format so again on the arranger track itself is just come right over here and click on the edit button and select flatten chain then export foreign different comments thanks for all the great questions again if you learned something new make sure you hit the like button and subscribe to the channel see spec Williams has uh so it wasn't the high frequency so much as the bass causing the problem maybe time to buy wave lab too so yeah and wave Labs on promotion now so you get it for 50 off for cyber weeks promotion all right um so we see question uh between Mac and windows which one does Cubase work more effectively on so I go back and forth all the time uh between you know like I have a Mac for work and my personal Studios on PC so I go back and forth all the time and I think that they're you know substantially similar so um you know you could buy like a really you know Mac with eight gigs of RAM and you know a small display and that won't give you a great experience um you know there's could be more peripherals in Windows that could cause problems but you know but you know going back and forth as long as like you know you've done like a latency monitor like the latency mod to make sure like your drivers are performing well you should do you should be able you know I don't have a personal preference um either way so all right uh so we just see question uh how to convert uh uh I guess it's VST tracks to audio tracks all right so let's say if I I'll just go to different project here and I'll activate it okay so there's a number of ways so let's say if I have you know midi Parts here let me double click and let's we'll just play this [Music] all right so as we do this you know you could select the track or the event and just go to edit to render and place uh and then you could have it as one event or if you have multiple events selected you could do it as block or individual events we could have it dry or with channel settings or send effects you could mono down mix it if you wanted to so I'll just say render and I always do this where it's just so get a render in place again and then you could just see it'll just be rendered as an audio file just like that so again just come over and do a quick render in place and then you can convert the VST to audio and then you could unload the VST tracks as well to save up CPU all right so we have a question from Val Lee um says uh with the UR 22 see if I go to live cast I can't hear record the mix attached on input one also in voice chat is there something wrong so I always just kind of let's you know so I assume that when you're here that you have so make sure a that you're I think it only works with like input one so make sure that you have the correct you know so with livecast what this will do is it'll transmit um the audio out to like you know a program like Zoom or Microsoft teams or OBS and then you could incorporate the microphone directly into here but I think it needs to be on input you need to be connected to input one uh and then you have voice chat where you cannot re-record the signal and kind of create feedback loops like if you're interviewing someone so make sure that you're on input one with the microphone I think that's what you okay it says you're attached on input one um so but every time I I've tried it it's worked um it makes sure like your microphone um if it's a condenser microphone make sure that it's uh actually you know you have phantom power enabled so check that as well see Mr O's just saying absolute bundle is going for 250 euros get it now so that's great okay filter freak is just saying 135 likes each session hit that button all right uh so we see Greg uh thanks for the uh thanks for your question what kind of system configurations would you recommend to use Cubase without dragging so I think you know if you're doing it really depends on what type of work you're doing if you're a composer with lots of different instruments you know having 64 gigs of RAM if you're doing a lot of orchestral stuff could really help 128 gigs I know composers have you know 512 gigs of RAM just so they could have as much active at one point if you're just doing you know like 30 tracks of audio memory isn't as critical um so you know any of the Contemporary you know if you're going Intel check out like you know i9s uh if you're going you know the latest ryzen series from AMD or the M1 M2 processors on Mac excuse me Let Me Clear My Throat all right all right all right um so I guess a follow-up question is there any preferences which allow to select the latency so you know pretty much all the audio interfaces will allow you to adjust the latency um so some some interfaces you have to do it outside of Cubase which is silly um but most of them you can just go to like the control panel and then you could set your buffer size directly there okay uh as we see from Jazzy lamell uh hi Greg I have a hard time trying to import an mp4 file and sometimes I can't even export one can you show me how to do this so you know when dealing you know realize that video files are um you know the great thing about standards is like the running joke to great things about standards is there's so many of them um but you know video files could be different in that when you actually you know you need to have codex you know you have containers and codecs so there could be like you know thousands of different codecs so let's just say um so you want to make sure that you have the right container and the right codec combination so and there's kind of an article so video support and Steinberg products and this is a little chart that will kind of show you which uh codex and which container types will work so you know just because it's an mp4 there could be 12 000 different mp4 file variations so you want to make sure it's going to be an h.263 or h264 uh for the Kodak on that so and there's a number of freeware utilities to convert to and from different codecs it's pretty typical so all right uh so we see uh hi Greg question uh our sampler tracks mono or stereo tracks uh can I change this uh would this affect stereo mono inserts you know so there's going to be a stereo output uh for the sampler Track by default but let me see if I could add a sampler track yeah it's not um so sampler tracks are going to be um stereo um you know so which makes sense uh because it's going to be played back through like a stereo Source um out to your two speakers um so and that will allow you to you know and your effects will be running in Stereo so if you needed to add the sampler track in Stereo and you wanted mono processing just add to sampler track and then you could send that track to a mono bus and then you could place the inserts on the mono group track all right um okay so you have a question uh hi there I have a question about scoring a film in Cubase how can I impose two video cues to be on the downbeat while letting Cubase take care of the tempo track between the cues okay so let's say I have a video track that may have one oh there it is sorry brain cramp time yeah all right so really all you have to do is I'm going to select two videos here and you know what we could do is just simply you know have one video track that starts later than the other one so you know if you have you know different videos you can come and even just kind of drag and drop videos but if you wanted to just import so you could have you know one video file start right here at time so if we wanted to you know just come right over here we can see the Steinberg office and then if you have a different video file those can just start uh in one video file at the same time or you could choose to have two video tracks and then um as we do this we could say Okay I want you know let's say you had a video that was edited so you could have the original video and then you could have perhaps like a video that's been re-edited so that you can make sure that all of your changes um from the original and then you could make that work with the new video edits which are kind of always seem to be inevitable all right so we have a question um uh is there any Steinberg Academy whereby I can learn and earn certificate so you know Steinberg uh there isn't like a you know a certification process there are uh different um you could you know you could look at the Steinberg certified trainers you know but you know I think that the certification you know is I think it seems nice but I'm not sure you know it's like you either kind of know the software or you don't whether you're certified or not so um so I don't even think I'm a certified trainer for Steinberg uh I should probably apply um but you know so but there isn't like an official like 101 course it's kind of been worked on and you know but I'm not sure what the status is of it all right so we see from uh Gerald Ely um hey Greg at the top of your media Bay uh in the side window you have buttons for categories ratings Etc I don't have so let's come over here to uh media base as I say when I go to loops and so you think if we come here let's see if we so click on this button here and that's a show attributes folder so try just clicking there Gerald and then you should be able to see like category subcategories and set those as you'd expect okay um so we have a question uh suppose I've imported an entire audio track uh to use it like a reference to build my own track uh and you must adapt to a specific Tempo how can I do that all right so let's take a look foreign just all right so say and uh just so let's say we're going to do a quick Tempo detection of this file so it's like so again I'll just come to my project window project menu let's do Tempo detection so to analyze it so if I want this to be perfectly steady all right so what we did is we figured out kind of what the tempo is of the particular audio file now what we want to do is to apply these Tempo changes as metadata like the the tempo information into the audio file at the specific locations so to do this we'll go to audio to Advanced and set definition from Tempo so I'll just say and we could do this and store it at the project level or write the actual metadata into the audio files so we don't have to do it again but I'll say okay let's come here and let's just look at roughly our tempo let's say it's like 1 14 to 120 ish so now we have that information so I'm just going to come here I'm going to disable the tempo track and let's say I want this to be 1 16. so now it's going to play back perfectly steady at 116 beats a minute and everywhere that it was speeding up and slowing down is now perfectly steady foreign [Music] but still steady at 134. [Music] or slower [Music] so you could just simply so you know do a Tempo detection figure out what the files are and then go to audio to Advanced and then what you want to do is to set definition from Tempo and then you know you could take it off from following the tempo map you can edit the tempo map so you can say Okay I want this to be tighter I want that to be more varied in Tempo I wanted to Crescendo up to right there you could do all those different things or just turn that off and put a static value for the tempo so it's consistent and steady foreign all right uh so I just see uh Greg lastly how can I link Cubase to broadcast on OBS um so I use OBS for the live streams uh and what I do for my system is I have one audio interface for Cubase and then my microphone and the audio output for my Cubase interface goes into a Yamaha mixer and the Yamaha mixer at that point actually transmits that's what I use for OBS so that way if I need to cough I could switch sample rates and I'll have to worry about all other stuff because I have to juggle enough balls in the air to make you know to read through all the comments and do everything so um so that's how I have so I have kind of a two different inner two interfaces one's for the stream and one is for Cubase and that works really well some people use voice meter and there's other utilities on Mac OS as well but you know you could get a inexpensive audio interface and just use that and that's always worked great all right so I think I'm at the end of questions let's go to some of the questions that were submitted in advance so thanks for all the wonderful questions all right all right see we're at 140 likes it's fantastic thanks to everyone all right um so we had a question is there any way to generate vocal harmonies all right so let's show you how to do this so I want to come over to um if I have it in my list okay so let's say we have in this project just like kind of a piano and vocal [Music] s okay so I'm going to select just the uh piano part here and I'm gonna figure out what chords they are and I could do this from audio or from midi and I'm just going to drag this up to a chord track [Music] so we now determine kind of what chords [Music] are in the project [Music] so once we know what the chords are I could select so I'm just going to select this phrase I think where she said tell me why and I'm going to go to audio and then we'll say generate uh we won't click on the Spectrum analyzer let's go to audio and we'll see generate harmonies generate Harmony voices and I'll say let's just do three harmonies for that particular range I'll just kind of Select these and move them down I'll just adjust the gain and now these will automatically look to the particular chord track and be musically correct [Music] if I wanted to select kind of all of these events um we can now come over and let's say I'll get to like just very audio editor and now I could just kind of see all the different harmonies [Music] and if I wanted to change different voices I could change the different notes like that so once again uh figure out what the chord track is so it knows where to place the harmonies and um go to audio menu and choose uh generate Harmony voices and then you could just have your harmonies done just like that all right uh so we have a question uh hi Greg I'd like to create a logical editor preset that come that copies every voice to of a midi Court event to Dedicated track the chords have four voices uh example base root third fifth and I want to extract them from lowest to highest part and have them as string sections uh how to do that all right so I think I have an example set up here okay so say I have just kind of typical quick string part here and I'll activate this project that would help [Music] foreign okay so I just made a logical editor preset so and what we could do with this is let me just go I'm going to select the midi event and let's get to The Logical editor and I think I was clever enough to save it as um a preset okay so I'm going to just automatically choose extract to new track and then what this will do is it's going to take our midi notes and it's going to select the and we're going to say context to variable is equal to note number in chord so this is going to basically just take the lowest note in accord and copy it and extract it to a new track so if I wanted to split this you know this four part voice to different tracks all you'd have to do is I could hit apply and then what that'll do is it's going to take this and automatically we see that my lowest voice changed now this part is still selected so I can just hit apply again hit apply and now I could have all of the different tracks just automatically split out to different tracks just like that so once again try to just come over set it to extract to track as the function and then we want to go to type is equal to note context variable is equal to note number and chord and choose zero now we'll take the lowest note and then do it again it will take the lowest note of the chord and then you just do that three times and that will split a four-part voice Parts into independent tracks okay this is uh I think a follow-up to our previous questions um the previous live stream um why does duplicate track uh get louder by one to two DB uh in right channel compared to left when they are hard panned left and right uh in a duplicated tracks uh I'm not playing sounds at the same time this there's silence between notes uh they are the same note I'm using frequency EQ and stereo imager 2 uh an ozone imager 2 settings uh for them are identical they're both uh in the inserts not sends the pre-gain level is identical high cut and low cut and pre-gain is off I hope you understand my query one thing I've noticed audio is fine uh exact same loudness but my mini VST synths all do the same thing which is minus one to two DB difference in right to left all right so let's take a look at it I kind of created this scenario here so let's say if I have these as alternating and I will pan these uh let's just check with panning so let's say We'll look at our Master Meter so we'll have these kind of alternate so we do this the meters look it's very similar to me and let's say if I have these playing at the same time so I'll come here and I have this set up and I'll let me just pan this I'll pan these the hard left and hard right and let me just eat these sorry [Music] foreign so let's come over here you can see that they kind of look the same now what something that might affect this you know one is the actual instrument sound and what instrument sounds are going on but if you go to uh shift s and go to um the you know you'll see uh stereo pan law so let's see if we set this to uh equal power if that makes a difference because it kind of looks like it's you know how I would expect it so let's say if we do this foreign and as I come here let's as we play them the same pan at the same time and there's some oscillation in the synthesizer sound itself oh but like when you see the peak you can see that it's identical so it seems like everything is kind of functioning but you know let me know if you have the same exact experience with all all different instruments you know try just like a very basic sine wave or Square wave or triangle wave and see if that makes if that has very similar characteristics or if it's maybe one particular instrument that's causing that for you all right uh so we it's a question um says I have Adobe Atmos 7.14 song and I've mixed where the whole song rotates clockwise during the entire song I'm able to automate the master fader in this but no matter how I try I can't figure out how to do it so it transmits to the ADM file is there any way to do this so let's take a quick look um so I think that this could and I'm not an Atmos expert but I think that what this may be is um so let's say if I come to all right so I'll have kind of an atmosy project here all right if you have headphones on you may have like I could take kind of my individual [Music] base here [Music] so if I wanted to take you know this particular base [Music] and move it around the room we could do that all right now what often happens is um now if you're doing kind of the whole mix so let's say if you're doing it from [Music] you know so I'm not sure if you're doing it from the render if you're doing it from here and kind of rotating so while you can automate that I think if it's you know this is a bed and I I I'm inclined to say that if you had automated that which can be automated that the beds themselves don't go between the different panning I think you have to have it set to objects so for like if you're just rotating an entire mix make sure that it is set to objects and when you go to your ADM authoring setup you get now come over here and select your different tracks let's say okay we'll come here and let's I have this track selected and come to functions and then you could say uh apply or create objects from the selected tracks so in that way those objects will be able to kind of rotate between the speakers and capture it in the ADM file whereas I think if it's a bed and I could be mistaken on this that it's going to be fixed for panning all right all right so I had a question um please how to export some chord track presets I've composed I did copy the chord pads folder from the library application support Steinberg on my root computer to the destination one being opening Cubase in this but cannot retrieve my chord pads uh saved presets uh any idea how to fix this uh thanks to you and the wonderful Team all right so with the chord track or the chord pad presets so when we come over and let's say we go to the chord pads um let's say I'm going to make a preset all right so let's say I want to save my core track presets and all right so uh as you mentioned like if you go on the Mac platform which it sounds like you're on we'll come here let's go to your library so hold down your alt or option key uh and if you don't go don't watch the web browser instead of Explorer it's my learned mistake all right so say if I go to the library um and then it's under application support and here we could say there is the November 18th so it's under the chord pads preset so this is kind of not necessarily in the Cubase 12 or Cubase 11 this is kind of where both programs will access it so if you don't see a preset that you have saved come over to mediabay and let's come over to let's say user content and we want to go to chord pads and try to rescan the disks and you know and probably the next time you come um you know so try just to rescan the disk and then you should be able to see it in all of your different versions so you might have to again just kind of come over here but you should see it under the cord pads there so try that all right let's get the next question thanks again for all the wonderful questions all right so we just had uh I saw an email I was kind of addressed to Jazz dude to myself it says the current price of cross grades and windows is a good idea or not necessary if you have Cubase um so I would say that nuendo is a you know an incredible solution if you need those particular functions so if you need to be doing uh you know multi-bed Dolby Atmos if you need to import ADM files if you're doing game audio production and interacting with wise game audio middleware if you're doing more you know ADR functions um you know and nuendo will also have some additional sound design capabilities um like you know some plugins that are really pretty slick for that uh for music production I think Cubase is you know more than capable enough you know we've had I think the last three or four I think the last four or five Oscar winner composers have done everything in Cubase so probably works for them it'll probably work for us um so but if you need like those specific tools for ADR for reconforming for you know um game audio integration uh sound design then nuendo is a great solution all right let me jump back to our chat so thanks for all the great questions about I guess about 15 maybe 12 minutes more all right all right so looks like we have 144 likes it's great foreign have a song uh in the wave track I rearranged the sequence with the ranger track I flattened chain uh but it produces spaces between the events silence uh can it be related to Tempo track or something else so it might be Tempo track related but I think if there is tempo track changes that are automatically kind of uh carried over um but if you have like a screenshot or if you want to email a link to a project I'd be happy to kind of take a look at it and you can send that to Club Cubase at Steinberg dot d e all right so we have a question uh is there a possibility to set midi clock out offset so generally um you know as we send synchronization out you know the midi clock is in sync now I know a lot of devices don't necessarily sync properly to MIDI clock and there needs to be offsets um you know but it's really you know as we send the midi clock out the timing is correct uh but some devices you know and it's really kind of more on the side of the device if there needs to be an offset or the midi interface so there isn't a way to do offsets for Midi clock because it's really kind of out of the realm you know because we don't know what the offsets could be and you know we're sending it out right so to uh you know so sometimes it's hard to get the developers to you know have something send something out of sync as a philosophical point see sounds like Teemo just saying I just want to thank you Greg for answering all my questions past and future thanks you're welcome and thanks for being a part of the live stream and I hope it's helpful to people all right we see David Emmons made it thanks for and he has time to hit the like button so we're glad you can make it hope you're doing well all right so we see from uh Daniel Godfrey please how can I find denoiser in Cubase 12 Pro so Cubase 12 Pro doesn't come with a denoising plug-in at all so but you know there is if you have spectral layers Pro uh you could you know you could filter out stuff with the included spectral layers one but there isn't a denoiser plug-in uh that comes standard with Cubase all right so we see uh question uh hi Greg I purchased uh Cubase 11 and 12 and I'm trying to use spectral layer seven it's asking for an activation license how can I get this working cheers um so um you know if you have spectral layers one that comes with Cubase 11 and Cubase 12 but there's also spectral layers elements and a spectral layers Pro which is sold separately so um so if you can you should be able to run to spectral errors one version with your Cubase licenses but the other like other versions if you've installed you'll need to purchase a license and inspector layers is on sale for 50 off uh all right so you see a question so does nuendo include everything Cubase does and more so I'd say 99.9 I think the one thing that's not included that's in Cubase and it's pretty minors the VST Transit online collaboration Cubase has kind of a more sophisticated Network collaboration but it doesn't have VST Transit but in essence you could think of it that way that nuendo has everything Cubase has plus more all right so we see um hello how to import tracks in a template so if we start let's say with a template here um so let's say I'll just see what this template is see what all right so say I have this as a template and then if you wanted to you know drag and drop tracks into audio files or come over here and import audio files into a template you could do that just that easily okay so we see um Eric D just says um I have a project with group stem pre-master how import ant I won tracks in project uh sorry for my bad English all right so if you if you wanted to I'm not sure if this is like exporting files that are going to different groups so let's say if I have um I had a group channels to this and this I have additional group channels all right so if we have all these like our you know pre-mix and you know different premaster and if you wanted to I'm not sure if it's exporting and I'm sorry I'm sure your English is much better than my ability to understand your language but if you go to exporting to audio mixdown and choose multiple you could see all of your groups here so we can say audio channels instruments uh but we could have all of your groups exported individually but if I'm misunderstanding uh let me know sorry about that all right so we have uh Benny just saying uh question can you show us how to use spectral layers to remove noise using version nine all right so let's take a quick look and this is in uh I think spectral layers elements and Pro that's a two new project and let me just worry about that okay so let's say we have an audio file here that has his the smaller second I think so what I could do is I'm going to select this and let's go to spectral layers all right and I'll just so let's say at this point um like I just want to find the noise I will just do this kind of grossly macro just kind of show the concepts let's say so as I do this I could just so say that's our noise floor so I'll go to process and we'll come over here to noise removal so I'm going to register that noise and then really all I have to do is under process we'll go to noise reduction um and then as we just kind of play it back we could take this selection off and then you could just simply um have the particular file just kind of play back and filter out that particular noise so you could take kind of like a noise sample and be able to do the processing right there all right let's see we have time for one more quick question foreign okay all right so we see Spike Williams has to Dash okay so we see uh how to delete plugins in the mixer without going to no effect uh fast way I'm using the trackball so um all right so let's see if we have like inserts here another one all right so um one easy way is if you just grab let's say you have your inserts here on let's say if I select this particular track and let's say I have inserts so something you can try to say okay uh if you want to do it quickly just drag the insert to an empty spot and then you could get rid of effects there all right so we're just about out of time so I want to thank everyone for wonderful questions and once again we won't be doing a live stream next Friday because it's a holiday in the United States but we will be doing Tuesday and then the following Tuesday will be our Zoom Meetup so I want everyone to stay safe and healthy and um thanks for all the wonderful questions and if you've learned something make sure you do hit the like button and we'll see everyone on Tuesday have a wonderful weekend thank you come on

Channel: Cubase

Views: 52,737

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: EadeoYIhi1k

Length: 238min 7sec (14287 seconds)

Published: Fri Nov 18 2022