How to Quantize an Audio Part to Match The Feel of a MIDI Part? | Club Cubase March 9 2021

hi welcome to the march 9th 2021 club cubase live stream uh we will get started here in just a couple minutes i'm going to do a quick audio test on my end make sure audio is going through okay hi welcome to okay so it sounds like audio is going through fine my name is greg undo i'll be the host for the hangout or the live stream today i'm work as a product specialist for yamaha corporation of america the us distributor for steinberg products and if you have not a attended a live stream before how it works is you could submit questions in advance to club cubase at steinberg dot d e or you could just enter questions in the chat field so um and we could do that so you can enter them in there we'll try to go through the questions as they're entered chronologically the ability for people to ask uh questions in the chat will far exceed my uh my capability to answer them in real time manner so i may be behind and i'll apologize for that but if we could try to avoid asking the same questions repeatedly if you don't get an immediate response that would be really helpful if we had the same question over and over again it kind of slows everything down um also if uh you could specify which particular version of cubase you're using so if you say i'm uh running cubase pro on windows 10 version 11 or i'm running cubase artist 10 you know cubase artist 10 on mac os we could do that that information is also helpful so we're going to wait just a couple minutes and get people logged in if you're uh if uh you are on the hangout uh please feel free to introduce yourself and tell us where you're from also if this is your first hangout uh let us know that as well we'd like to welcome you and we are doing these hangouts uh during the pandemic on tuesdays and fridays i think uh we kind of restarted it last year on the 17th so everyone's coming up on our one year anniversary we've basically done the eight hours of these live streams uh during the pandemic since then so we will um so that's kind of what the schedule is if you're just watching this for the first time but we'll let some people get logged in i'm again my name is greg undo i work uh as a steinberg specialist in for the uh american distributor for uh steinberg products uh i'm presenting from i'm just i in alexandria virginia just outside of washington dc area so let's go ahead and see who is on the hangout and i'm going to turn the volume of my phone down so we don't get disturbed multiple times during the hangout do that now okay so let's see who is on okay so we see ace samodayas we have sir robert from atlantis or robert robinson good to see you vinnie sabatino from orlando [Music] we have wizards lair studio from ottawa in canada we have tim weinheimer from mission viejo all right so we have fat jack on all right so we have robbie bowling from dallas texas sorry we have bob houston okay so we have uno from finland walter black ledge from st louis all right so we have stefan from sweden good to see taylor from pine grove pennsylvania i had family near there so i always pine grove always brings back fond memories for me so it's always great to see taylor on the hangouts all right great see jazz dude i believe he's in heidelberg and he's always incredibly helpful uh for helping people uh in more real-time fashion as i try to catch up all right so we see john kostigan from kenosha via pablo vasquez from galicia espana all right so we see ali okay so all right so we have mark taylor from london all right so we have anthony walker from detroit all right so we have omar from france we'll get started here all right so we have walter from lebanon all right robert gilbert from montreal all right so carlos from columbia great to see you again all right we'll get started in just a couple minutes get some more people logged in all right so we have allen from scotland who's just came over from reason to cubase welcome to the hangout all right we have gareth from antarctica finally you have our antarctica participant thank you gareth all right so we have netherlands all right so we have brian from crystal coast north carolina all right so i know that we had some people wanted to wanting to do more than um one kind of zoom session so i think we mentioned maybe that on uh after so maybe i was thinking we could do a zoom get together uh maybe at 12 noon eastern which is an hour earlier than now maybe on saturday and some of the people that might have work commitments or other obligations might be able to join so if you want to email me at club cubase at steinberg dot d e um i will set up kind of a zoom meeting and we could all get together so we'll do this saturday probably one hour earlier than normal let's aim for 12 noon on us east coast times i believe that's maybe six in central europe five in uh uk uh nine on uh american pacific time so we'll see if that time works but just email me and we can maybe do an hour hour and a half i sneak away and maybe let my woman while my son is sleeping but all right so let's go ahead and get started okay excuse me let me just clear my throat all right so from ace amadeus hi greg i hope you're doing well using cubase 10.5 if i'm moving projects to an external drive does it have to have 7 200 rpm thanks so if you're if you're just kind of archiving the projects like the speed isn't critical so you know if you wanted to play back like you know number of audio track 7 200 rpm is always better uh but it doesn't if you're just archiving and kind of backing up stuff you know the actual you know spinning speed you know the the speed of the drive isn't so critical for that i mean it may make your back up if you're doing a really large backup may make it a little smaller but i i don't think it's so critical but if you were using it for playing back lots of virtual instruments such as uh you know or huge orchestral sample library templates that's when like an ssd would make a big difference all right so question how to add surround pan to the mixer in cubase so the first thing we need to have is when i go to my mix console here we can see that i have my traditional panner but if i wanted to add a surround pan or i need to go to my audio connections window choose the outputs and i need to add a surround bus so i'll just do like a 5.1 bus so right now you see that since i've added that bus my stereo tracks will have kind of a more box or square appearance but i can still only pan left or right now if i add an audio track and i choose its configuration instead of being mono or stereo to 5.1 so now we can see our audio track uh show up directly here and as we so let's say if i go to my audio 8 audio 09 that at this point we could just see kind of the surround panner and if we double click here we could just see the surround painter so you need to add a 5.1 bus and then take that particular track and make sure that that track is being sent out to your 5.1 bus and then you'll be able to access your surround panners all right so just see comment hi greg hope spring is starting to reach you so yeah it magically got like uh 20 degrees warmer today so we're supposed to get 70 degrees fahrenheit so it feels very spring-like and it was nice it was my son's first day back in kind of hybrid school so he got to go to a school for the first time today so it was nice and he was very excited to go back to in-person school for two days a week all right okay so a c from uh fat jack uh hi greg looking forward to another one of these great sessions i wonder if you could go over using the sample editor a bit please i seem to get funny results when trying to analyze takes whilst comping a track so let's i'm not sure if those are kind of related but if i wanted to go to um you know my sample editor i could double click here and once we're in the sample editor i could see uh my you know some different area some different aspects so if i wanted to come over here and do very audio we'll have different tabs a lot of people do very audio editing directly within the sample editor if we wanted to find hit points we could have the sample editor automatically find kind of the rhythmically significant points of the audio file and be able to if we wanted to at this point create a groove quantize we could turn these into midi notes which is helpful for maybe like a drum replacement if you wanted to create uh warp markers regions slices or grooves we also have you know different range type of editing so if i wanted to select a particular range um we could do this and also create sample track we could come over here and do a series of offline processes so if i wanted to insert silence or just come right over here and say i just wanted to take that and do a fade in or let's go ahead and just reverse the audio you could do stuff like that directly within the sample editor you also will have definitions so you could auto adjust and be able to manually adjust kind of the grid and when we get into audio warp this will allow you to kind of enable musical mode as well as doing stuff like free warp so you can say okay i want this note to fall on the beat right here so those are a couple of the different things you could do within the sample editor okay so uh when i see question i seem to get funny results when trying to analyze takes whilst comping a track so i got your email on this and i was able to kind of recreate uh what you're doing so let's say if i say what i did and thanks for sending kind of the detailed explanation is i did two different uh passes and but i didn't complete the the third pass so i did one pass i did like two and a half takes i did another pass and did two and a half take so how this relates to the sample editor is you know when we look at this we can choose to kind of do our different editing but when we and what you had noticed was kind of we see these listed as uh like this is the you know base comp 03 recording and we see this listed as take one take two take three and then i stopped and did kind of a second pass and this will be listed as base comp recording04 uh o5 take five and take six so and those will kind of match and i think one of the things that you thought was a little odd was when we go to the pool window uh that we see the actual files kind of listed here uh as being take one two three take one two six and i think why it labels that um is just because it's an incomplete take because if we were in cycle mode that it wouldn't necessarily [Music] carry that over because it's kind of an incomplete cycle mode now one thing that can throw people off is when we look at a contract even though these look like separate and distinct audio files what this is is an audio file that goes from here to here and continues on here and continues on here so this is one separate audio file that's kind of broken down into different regions so if i drag this audio file to the project window we would see that it's going to be one long audio file as opposed to our different an audio file this this longer audio file that's broken down into regions so uh maybe if you did editing on kind of so some people could get kind of thrown off because when they do sample editing it's actually you know it looks like three separate distinct audio files but what it is again it's one audio file that's been broken down into three different regions and each of those regions will show a particular lane so as soon as we go to our pool window we can see that we have the audio file and these are the defined regions so hopefully it makes it a little clearer but i i will kind of pass on you know kind of the discrepancy here y goes one two three naming the regions and then one two six um i'll pass that along so and i just see also if i open the editor in the lower zone i get one set of numbers on the ruler but if i open it in the pool i get some strange numbers on the ruler it seems to offset the start points by half a bar it's really confusing so i think that the offsets that you see are maybe that you're editing the particular region as opposed to the actual file and i think if we come over here you know we could actually if we go to the setup window you could have a region display and here i could look at this one when i select this one audio file that's kind of the entire recording i can now define there's region one region two and region three but if i just you know went to do you know editing here we can see okay i double click on this i see kind of the defined region i come over here it's still showing as kind of measure one but you know we have to think of this as kind of being a defined region that's kind of placed so you may notice that this may have the same start time as this even though it's all coming from one particular audio file because they're kind of broken down into regions okay so i see people saying what the heck is this so this is our live stream where you get your questions answered those probably answered bef asked before we got started okay so we see from let me just resize a couple things here okay so we have a question from bob uh is there an order i should follow very audio then time warp or other way around i used very audio on three vocal tracks and then warped to adjust to music then i had fluttering or jerking around on the vocals so if you're going to be doing a lot of let's say very audio editing i would probably you know what i would do is probably do all of my warping ahead of time i would do the warping before the pitch correction so i would probably come over here and just be able to you know adjust my warping so i could you know play stuff back here and then go into very audio because the very audio is probably going to be could be very critical um you know so i would want to have all of my decisions kind of made rhythmically before doing very audio edits and um so it says then i had a fluttering or jerking sound on the vocals you know so sometimes if you're doing a lot of warping and you know you speed up like you know you speed something up or change the rhythm that that may affect the vibrato so you know at that point you may want to try to tame the vibrato and that could often be caused with fluttering but i would generally probably do warping and say kind of and do all those types of edits as rhythmic edits before doing uh my pitch correction and very audio all right so we have rob uh from tarpon springs florida and he asks how do you extract the midi data from a groove agent pattern into your project okay so there's a couple of different ways one is if you have like your pattern here you could choose just to drag it directly to your project window so that's probably the easiest way another method of accomplishing kind of the same thing and this second method could be good especially if you're doing a lot of like i wanted to have random changes like i wanted to come here and i wanted to have an auto fill every two measures and i wanted to adjust the auto complexity to every bar so what i could do now we have this a groove agent is smart enough that it could actually set up as a midi input it won't be routed to all midi inputs but once you have groove agent activated you could go to the track and set groove agent as the midi input so as i come over here and i hit play and i will just i'll just take it out of cycle move record sorry about that so let's say we're recording and i can see i have my just different variations [Music] so and we had a base part come in but now that i've done that uh it groov agent transmitted the midi data to the track and now we could actually see all of the midi data directly in uh directly recorded um with all of my different variations so if while i'm playing it i wanted to capture the dynamics or the different levels of intensity all of that information would just be captured in real time with midi and we had previous versions that didn't allow you to capture the recorded midi and sometimes you'd get this like you know completely unexpected super happy accident and then it was you know just on set on randomize and you can never actually capture that so that's why the actual midi data was uh set to be recorded directly from the instrument into a track so you could either drag and drop or set groove agent as the midi input and if you do groove agent as a midi input you could have other instruments playback different drum samples okay so you see uh from taylor sapp um is there a preference setting to be able to move the range of a midi clip like you do in the hangouts uh cubase 11 that feature is not available to me as is all right so let's say if i wanted to move i'm not sure if it's like just a range here where i could move just a particular range just like so so i i grab i put this into my combination mode here where we could combine the selection and range tool so if i move just if i grab from the bottom i move the whole event but if i select from the top it's now range tool and then i could just kind of move directly there sometimes you know the range tool can be used it's not necessarily in the uh midi editor though so let's say if i have notes here so this is often when i get like a range question so let's say i have notes and they don't start at the beginning of the event and they don't end at the end of the event so if i wanted to you know copy this particular event you know so if let's say if i'm here and i select it let me just go back so if i select you know these particular notes excuse me so if i select these particular notes uh and then i choose to duplicate it just by like control or command d that it will just simply duplicate you know until right after the last note uh and that's not necessarily what i want to do i want it maybe to duplicate from here to you know i wanted to duplicate these two bars with the space in the beginning and the space at the end and if that's what you want to accomplish um one way of doing it is just to use the uh in place editor so if you hit command or control plus shift plus i i could now go into the editor here and if i select my range tool i think you may have to select the range tool as opposed to the combo tool i can select the range uh in the editor itself and now as i duplicate just control our command d it'll keep kind of the space at the beginning and at the end and then i could just come right there we could close that and now i could have um i'll make this event larger so you could see that you could have the space between the different events so i've been lobbying to get like a range selection tool in the midi key editor it's useful for a lot of other things but let me know if that works for you taylor all right so we see a question from taylor is it possible to use one us inner one to use one interface on two computers simultaneously through usb hub so it's usually a usb hub is kind of going the opposite direction so where you're taking you know one you're taking multiple inputs to multiple devices kind of like a mixer and taking those uh you know four sources and sending it to one usb port but it doesn't necessarily you know to one usb port on one computer um but i don't know if it you know most usb hubs i'm not sure if they kind of are kind of bi-directional in that way where you might be able to switch the usb cable um like you know the you know the particular cable to kind of reverse you know i think it would send data i've never tried it um but if you want i could uh send an email i'm inclined to think that you know most usb audio interfaces won't be accessible via two separate computers simultaneously but i i could be wrong i haven't really tried it my inclination and my gut instinct is uh that it doesn't okay it was a question from taylor uh does supervision have a vu meter so it doesn't have a vu meter it has pretty much every other type of meter and i think kind of the intention was like kind of most of the you know digital meter type so if i wanted to come to just the inserts here so for our volume or loudness um when we go to our supervision you know we could see that we could have this on as a loudness meter or a level but there isn't a vu particular meter inside his supervision but i could pass that along um some people like the aesthetic of it and don't find it really kind of as accurate there's uh for kind of contemporary production some people are very used to it and have looked at vu meters for decades and you know and that's how they prefer to want to see it and i understand that but i'll pass on that as a feature request okay okay so it's the question from ali i'm here for the talk yesterday we had an email about the reverb thing you said that you'll show me how to do it with offline processing so yeah so um so ali had sent an email just kind of about the um like if i wanted to take a particular i'll just do a quick drum loop that you saw in kind of another program just [Music] all right so say i'll just kind of drag this over okay so let's say at this point i just want to i'll just play this particular loop and if i wanted to just you know quickly put reverb on a particular loop you know just kind of we saw in the sample editor you know so if i just kind of double click here you know you can go to your process and then if you wanted to just come right over here so once i'm in double click you get a process and then you can just say okay let's just go and add a reverb plug into it so say okay let's add a revelation [Music] so i say okay i wanted to just [Music] make my changes here so i could change the mix i wanted to be more change to preset so let's say i wanted a dark small room or let's make it a [Music] so at this point and the beauty of this is you could just kind of drag any other plug in so say okay i want to take that and now i wanted to run it through let's say a flanger [Music] and i wanted to come here running through a chopper then i say i wanted the chopper before the reverb and we could just kind of change the order of these if i really like them i could just save this whole chain as a preset just drag and drop give it a name [Music] and at any time in the process i could you know come over here and just say oh that was all great except for the reverb even after saving i could just delete that one process and say okay i just want to change the chopper from 30 second notes [Music] to eighth notes and [Music] so you know so that's how you could do it you could also just hit f7 and that will open up your direct uh offline processing and that will kind of get you the same thing so you could have all your different presets here and select any file and be able to you know just do your offline processing not just with reverb but with any plug-in i think ali had also mentioned about wanting to do in his email just about uh doing more um of the zoom meeting so let me know if next or this upcoming saturday works at uh noon us eastern time and i could send a hangout link if you want to email me at clubcubase at steinberg.de and i could have the link for friday's live stream uh it's a question hi greg i need to understand to talk back in vst connect i can't seem to get to talk back from performer is there something i missed in my setup or performer thanks for your help so you know the talkback is when we do vst connect you'll be routed through the control room so the talkback is actually just kind of set up for the engineer to you know enable talkback to the performer so when we go to the actual uh person that's recording i know a lot of people will use kind of the microphone in their webcam to talk or just talk over like you know even cell phones or just being picked up in like a microphone that's being used for the recording process but i don't think that the performer side has a specific talk back um so you may want to you know have them communicate over their webcam or if there's a microphone being used make sure that you know they can get picked up in the microphone all right so we see yan from uh stockholm who's generous enough to do the cubase index.com so if you have any questions on the hangouts are live streams and you want to see if it's been covered because we do probably like 85-ish sometimes over 100 questions per session you could search on cubaseindex.com and see if it's been covered and it will take you straight to the link so we appreciate yon doing that so kudos to yon all right so we have people from the netherlands checking in that's great okay so get some emails about the zoom on saturday all right so we have santiago from vancouver washington i miss going to that part of the country all right so tim baker from chicago all right so we have from baghdad harith sorry if i mispronounce her name are you a dan from sweden cologne all right and periodically my chat field may jump on me so um so hopefully i won't lose any questions but i apologize in advance if i do all right so we have william from belfast okay all right so we have iceland buffalo all right all right so uh hi greg i bought the taylor guitar plug-in from steinberg but having trouble installing activating do you uh do i have to go about this to use um [Music] okay so you know once you have the program it's going to basically just show up you know you may get you know depending on you may there there could be two different types of codes there could be a download access code that you can enter into the steinberg library um let me just get the right program into the steinberg download assistant so if you get something called a dac or download access code you can now just you know enter in your download access code here and it'll take you directly to the particular instrument to kind of simplify that process so let's say if we come over here it's gonna be under t guitar so once we have the so that will allow you to download it and once you purchase it you probably also will get a you know and you may see this in your my steinberg account or probably in an email where you'll see a e-licensor code and that e-licenser code just probably like you entered in for your cubase initially when you go to your e-licenser you could just come over here and see you know you'll see enter activation code and then you know as soon as you do that you'll see kind of all of your available licenses that you have and you and then that license can be moved directly to your usb eli sensor or run it off of a soft e-licenser once that has been activated and the licensing has been kind of completed the t-guitar will just show up as a hallian sonic instrument or an alien so if we go to let's say my hallian sonic here and we open the instrument at this point uh if i wanted to load we could just go down to t guitar and then you could just double click and have access and start playing directly uh right from and then once you have that you'll see kind of the user interface for the guitar plugin so you know if you have a dac you know enter that into the steinberg download assistant once and you probably when you purchased it you'll have an e-licensor code that will allow you to you know that's your license that could be installed in the us on the usb or soft e-licenser and then you know you install it and run it inside of your hallion sonic se or higher and you should be all set all right great to see michael teams from uh weatherford texas all right and we have i think deadlift randroth randrath from germany uh so a question from gareth um any way to flatten spectral layers extension after using i currently render in place or bounce selection so it's kind of basically you know it you know before 11 you would have to always render in place or you know do the particular um you know or do the bounce selection but it's as we do this now let's say if i wanted to do a spectral editing on that particular file so go to my spectral layers so as soon as i have done editing and i'll just look at my project folder for this i'll open this up okay so as soon as i actually uh selected this this is going to add that particular audio file into the waveform so i'm going to let's see if i just come back here and i'll revert this particular project okay so now i will take after day after okay so i go to my folder now and i'll just go ahead i think i'll just delete this out of curiosity all right so so now i have that file set there and i go to my audio to extensions let's go to spectral layers so at this point i'll go to open up my folder my finder window all right so that file uh is automatically placed into the ara so i don't really have to do any particular editing so as soon as we do the particular edit you know you're going to have you know the i i'm not sure off the top of my head i could test but you know we haven't done any particular editing so the original file will go directly to the ara so that would be kind of the ara the file here so as soon as we do our editing uh we don't have to do any particular processing but in previous versions we would have to um you know those wanted things in 11 in previous versions we would have to always you know do a bounce selection to kind of embed it but it's kind of embedded directly in the file for you so you could just kind of play it back all right uh so question seems like waves plug-ins are not working well with cubase 11 you know it could really depend upon your particular version of the waves plug-in so there's obviously uh many people are working fine so and as we see some of the um some of the comments below but if you have like you know different generations of waves plug-ins if you don't you know don't run uh try to avoid 32-bit plug-ins try to avoid vst2 used a 64-bit and use the vst-3 version and you should be all you should be good with that but lots of people are using it all right gareth wants people to vaccinate the like button so all right if you learned something new in the hangouts make sure you hit the like button and that you subscribe to make sure you subscribe to the channel okay so we had a question uh could you explain what the recording editor button does and the best way to use its function all right so let me just find a particular so let's say if i have um [Music] okay so if i have a just an empty part and i'm looking at it in the editor we will have a record in editor function so if i don't have this if i record something [Music] and i'll just go ahead and solo this all right so if i wanted to record without the editor in place um so i could record here [Music] so none of the midi data shows up and when i hit stop uh then the midi data shows up after i've recorded some parts so i'm going to undo that recording and when i have the edit you know the recording editor active as i do this we can now record [Music] and all that all the data will show up kind of immediately i'll just maybe show it larger here so just hit record but without that enabled you won't see the midi notes or controller data until uh i hit stop [Music] now i hit stop and then the midi data shows up so that's really kind of the distinction between the two some people have very just you know very strong opinions that they don't want to see data or they don't want to see controller data being written in real time but that's really kind of the big distinction there okay so i see a question from yon does greg have suggestions for suitable free shortcuts for many shortcuts i need several shortcuts for different randomized velocity minimum maximum limits thanks john so if you're looking so jan if the question is like you know maybe just like how to use different modifiers to find available free shortcuts um so often what i do and you can see this and if you know and for those that watch my hangouts when i make a key command a lot of times for functions i will often just do like command shift plus option or you know control uh alt control shift plus a letter or number um and you know having those kind of having three modifier keys plus a particular you know key you know those are kind of what i search for but if i was looking for a particular you know to make sure that if i assign my own keyboard shortcut that it wouldn't trigger something else you could and if you're looking for a free keyboard shortcut you could come right over here and just say you know type in your keyboard shortcut and if it's already doing something like i think it'll once you type it in in the key field here it will automatically show you if that particular function is is assigned to something so here i could go you know command option shift or alt control shift plus h is free to use so that's how i would do it now you see some people um that can go a little crazy you know when they come up with their keyboard shortcuts and they you know often you know and i just had this with a big composer last week where they had you know one set of keyboard shortcuts and it was you know actually triggering three different functions that were uh conflicting with each other so you know they would you know it's like oh i hit this keyboard shortcut it did this but two other things happened why is that you know just like okay because you had the same keyboard shortcut assigned and cubase will try to give you like a little warning message but you could uh you know just be be aware of that it's one of those things you could just kind of click off once and not forget and it could bite you later so but if i misunderstood your question john just let me know okay so we see hello is there a way for a mono track like a guitar i recorded to make stereo effects on it to sound stereo like ping pong delay or didn't need to move the take to a stereo track first um you get all you have to do is you know just use a stereo return so let's say if i'm here and i'll just [Music] so say i have a mono part here and i wanted to put maybe a stereo delay on it instead of using an insert just add it as a send right click and let's say okay i just wanted this to be uh let's say a stereo delay we'll send it to stereo plug-in and then i just solo again [Music] i mean get all pink floyd on us [Music] so you know it really kind of takes you the same amount of time to add it as an insert or a send so just run it add the effect as a send and then that way you could have multiple tracks going to that delay and could access the same delay all right so reading through comments all right so i see comment from dimitri which may be in russian sorry i don't read it okay all right uh so from club supermarket hey greg is it possible to import 300 groove presets without one by one so i think a lot of times when we come here you know you could so if you have these and um so i think it's going to be kind of one by one and i've kind of brought this to the attention uh of developers before for if you have different um quantize presets that often they just kind of show up in a big list so i think and let me just see if i could and there isn't really a way to put these into folders or to kind of organize them i think that they do show up i'll try to make a folder here so let's say if i go to my preferences on mac or the application data folder on a pc and i will just so see if there's a quantizer presets in here yeah maybe one by one uh just see there's so i don't really yeah so i'll kind of bring that point up again but i think it may be kind of one by one so sorry about that always it's kind of annoying all right great to see johnny d swing from pittsburgh all right so glenn made it from suffolk all right and we have dallas larue from las vegas all right so uh just see um uh so from yon greg did i hear right zoom now on saturday one hour earlier than normal your local time to 12 and also 14 days earlier or do we celebrate one year anniversary so we could do it on saturday just and i may not be able to go for a full two hours but i could leave the meeting open uh but you know we had people that wanted to do it so i'm up for doing it this saturday and on the last uh half of the hangout for the last the last hangout of the month but i think it could be interesting we might get some people that maybe just watch offline who aren't available during the typical times so that's why i was thinking saturday so but we'll give it a shot and send me i know i got some emails but i'll get the zoom invite uh created today and i'll include it on the next meeting as well so but we could do that and we could do an early one year anniversary of kind of the relaunch of the live streams okay uh question uh hi greg what's the easiest way to insert measures between existing measures and automatically have the measures move back okay so i will let me just switch to a different project here okay so if i have a range set so i'm just going to select kind of a range and if i hold down i could do this globally i think if i hold down um just gonna grab my range i think if i hold down control and shift so let's say i want to insert that range and move everything over so control or command plus shift and that will globally select the particular range go to your edit and go to range and what you want to do is come here and click on insert silence which is also command shift e and that will just knock everything over to the right so as i do that undo it so what that's going to do is take that particular range insert that amount of silence take the contents that were here and kind of knock it over to the right so once again select control or shift control plus shift with and select with the range tool and we could go to the range and insert silence right there all right so vinnie zappatino wants people to click the like button please he says all right all right we see it's 65 degrees fahrenheit in pittsburgh he's loving it so that's great yeah we're having great weather here in dc area in the us okay so i see kind of a clarification from taylor's my question about the range of a midi clip meant in the lower zone when you extend the clip because there are notes outside of the clip where you widen a dark area so let's go ahead and take a look at that thanks for the clarification taylor all right all right so when we click here um so i'm not sure if we could extend all right so let's say i have some notes here all right so i think taylor wants to know how to extend the range from within from here to just include just that so i know if we all right so if i maybe come to the end here i'm going to not have a note selected it's probably an easy way to do this i'm just so you might have to do it on the project window tailor let me just see if i could let's see if there's anything i'm missing but you may just have to do it on the main project window to lengthen the part so i've also had some discussions on this as well um but i'll play around with it now if i come across anything that i'm forgetting uh i'll let you know but i think you may have to just do it on the main project window or these notes can be kind of orphaned but i'll see if anything else kind of comes to mind maybe in during the hangout during our live stream here um hi greg is this from pablo is there a way to use different visibility agents on the three mix consoles that is uh the one of the the one of the main mix console does not correspond to that of mixed console 2. so yeah you could definitely do that so let's say if i want mix console 1 to be you know most of my different aspects here but mix console 2 i only wanted to see let's say groups let's say groups and effects channels and vca faders and mix console 3 i only wanted to see my inputs and outputs so now as soon as i wanted to just go right over here to mix console 3 that's my inputs output so i can see my groups and that's kind of one of the and effects channels and here i wanted to see you know everything kind of laid out when i get to my main mix console so that way you know that's kind of the intention of having the three mixed consoles so that you could filter out uh different parts from each of them and see kind of exactly what you want all right all right so we see uh from tanmay hey greg uh so we had a discussion on facebook so all right so let me just go to a particular file here so you know what i see a lot of composers do let's say if i wanted to go to this particular file okay so let's say if i want to take a little all right so if i want to take like a bach piece so and tammy's question was he wanted everything on one single track to be able to get a sense of kind of what's going on you know harmonically what's going on in a particular track so you know as we have one track here we could we could have everything kind of in one particular track but as we look at that track it can't necessarily play uh two multiple instruments so one track can go out to one particular midi port so if you want to do this for multiple instruments but let's say if i just come here and look at this in my key editor you know at this point and you know we see a lot of composers that kind of do this as their i just saw an email from my son's teacher sorry i will so i just select everything here and i will say let's uh colorize based on parts so you know if i wanted to get a sense of what's kind of going on musically you know i could see just by selecting the different events here [Music] so you know we can see multiple tracks here and if we wanted to you know as we you know have a cord selected so let's say i move over here we can see the chord indicated uh as we play along so we can see kind of harmonically what's going on but if we you know i could take all of this and export it as a standard midi file um and i'll just set one of my preferences here in the midi file so we can say export is type zero okay and i'm just gonna see if we could have i'm just gonna check my preferences on import to not auto dissolve all right so i just did this in a new project and [Music] just go back to see if i had markers set you so now everything is going to be in this one particular file uh that's gonna be your um so but generally so you know when we look at this this is generally for like older hardware sequencers maybe like a mc50 kind of a rolling thing you guys used to play out with live when before laptops were kind of more mainstream but let's see if we wanted to come here so but but you know i so but when we see one particular track this one track you know gets routed to a particular destination and that this one track while we could send to you know if it's a midi track we could use our you know our actual midi sends to layer it to send it to different destinations that when we do that it doesn't necessarily um those won't be distinct parts and i know you said that you wanted it for sound design but i think you know what a lot of people do is you know just select all of the tracks and we could have these in you know if you wanted to just select all of these tracks and if it was for kind of global type editing you know you could move them to a folder and then be able to move the folder and do let's say you want to do editing on a particular folder globally you could do that but a lot of people will come here and just look at multiple parts and multiple instruments all within the one particular editor and as you could say i want to only edit the active part so if i come here now my cello is the active part when i want it to come here we could say now it's going to be viola violin or whatever instrument that you want you could just come here and that will switch to that particular part that you could edit against each other as well so you know each track will have one particular destination so one track while it could be duplicated and sent out to multiple destinations if they're different parts they you know it's this is only going to mirror the the settings on this track to multiple destinations but it's not going to be different data so i'm not sure and i know you mentioned that it was going to be helping you with sound design but you know um so but if you could maybe give me some more ideas on how it's helping with sound design but a lot of people for a lot of composers this is their you know 21st century score view so you kind of come here many people come here and just put a stationary cursor and this would allow you to edit all the individual parts uh and be able to kind of just go back and forth so um so but it you know cubase needs each track to be routed to a particular device or dude a particular destination so okay so you see from ali greg thanks for all the answers but the thing i want to say is although the in-place editor we still need range selection tool and a key midi editor uh that is what i'm dealing with every time so i know that the team at steinberg is very aware of it so um maybe we'll see it coming in the future but you know every every beta cycle i you know make my feelings well known on that so if you see a comment from jazz dude about vu meters as a real vu is extremely unprecise it's like 40 year old technology nobody wanted it back then so okay so i see a question from tanmay can i set the key of a session in cubase so that any audio sample i drop in changes to that key automatically without me having to do anything kind of like musical mode but it changes the pitch too so it won't do that for polyphonic material you know so if you say okay i'm playing uh you know c dorian scale it's not going to automatically take you know a chord and be able to do that effectively i know some things do it and i haven't heard one that does it well so uh maybe with some very simple chords but you know when steinberg tends to implement something it's you know they try to make sure that you know it's gonna work for multiple you know types of harmonies and you know working for jazz musicians and stuff like that so okay okay so uh so i see greg could you talk about how track versions track visibility disabling tracks and save as incompatible with ara and losing data and melodyne using these and don't seem to be documentation thanks um all right so if we have track versions okay i'll just go back to all right so we can think of track versions as kind of maybe like a parallel track so as soon as i want to come in here i could say i let's say our singer saying one take here okay and we're like oh you know maybe we could try a different idea but i want to keep that idea in case that's the best one uh so at this point we could choose to have a new track version so so i will come over here and i wanted to have a different track version we could think of these as different ideas different takes but where we don't have to do any you know changes to our signal flow and eq and effects so once we look at this i could say okay we're gonna go to our third track version so at this point you say you know okay let's listen to it uh i will um and let's say okay the first the first one was best here after so you could have multiple tracks have multiple you know we can think of them as like alternate takes so i don't have to do anything i don't have to select a bunch of tracks mute and solo and do alternates i could just say and we could do this across multiple tracks where we could just come right over here and pick and choose exactly what is going on right there now as we get into track visibility this is like if we don't want to see particular tracks uh i could just have that track go invisible so when we play back if it's not visible we don't hear it but when we make it visible that track will let's let me just check on the hear it function so so we hear our tracks all right so let's make it invisible and now when we play back me so the track can still play we just don't see it visually and this is really candy for okay i just want to see only my drum tracks um you know i could just come over here and hide everything else you know except my drums so i only i'm only concentrating on editing these particular devices the other ones are still playing and sounding back uh but at this point i could filter what i'm visually seeing this is helpful if you have you know 3 000 plus tracks which many of our users do all right now when we disable a track that's going to allow us to so i'm going to come here we have our vocal [Music] all right so now that i choose this i could disable track and this is going to one turn off all the processing on it and when you play back it's not going to sound because this track is and this is often used for different virtual instruments maybe if you have a template and you have 500 instruments but you're only using seven you know there's no sense having 500 instruments taking up cpu power waiting for nothing to happen so those tracks can be enabled and disabled and when they're enabled you can hear them when they're disabled you don't hear them so we'll just come right over here enable that particular track okay okay so let's say if i'm here uh and we said uh and save as is incompatible with ara i'm losing data and melodyne using these and doesn't seem to be any documentation so let's say if i have this set for an ara sessions the nra extensions i'll come here and we'll do a quick edit on it so just switch to maybe composite view and let's say i'll just take that out so now we play back there's going to be a big hole frequency wise when we unmute it here remember all right so we can hear that change with those frequencies gone so now if i wanted to do save as all right so we did the save as command i could save i will go ahead and close this and now we could activate that particular project and as we do that the ara is handled um just as expected so if there's um so i'm not sure you know if you're running into anything particular with ara or with that but if you maybe if you're saving as and it's disabled uh that may have an effect on your ara2 extension so all right so see nice comment from jazz dude only 30 minutes into the hangout a lot of great value infos by greg that's great i hope it's helpful jazzy's wants people to hammer the like button all right yes thanks for all the wonderful questions all right great see agent k in a hangout who's always so helpful in doing moderation for us when needed we usually have a pretty well-behaved community here i appreciate that all right so hi greg thanks for this uh just joining is there a way to export a midi file with multiple tempo changes so i will come over here let's go to our uh let's do new project okay so i'll just record if you haven't done the stay home edition for pad shop from i think it's online music foundry that has it make sure you do that it's a great set of free patches here okay so i'm going to go ahead and [Music] it's one of those like play one note you have a whole soundtrack kind of instruments and collections there so i'll go ahead and just record some midi notes here [Music] all right so now i have this and let's go ahead and um i'll just let's add some tempo changes in this okay so let's say this is my file here okay so i wanted to export this as a midi file so let me just go to all right all right and when you do this you could also just say um okay so we'll just give it we'll export it and now when we go to one of the things that could be a little uh odd is when you go to your preferences and we go to midi file on import i think by default it's ignore master track events on merge so try unchecking that so now i'm going to close this file and let's import our midi file create a new project so here's our midi with tempo [Music] i think that's right file and now when we go to our tempo track so the tempo track may not be visible but the information is still in the midi file itself but cubase may ignore importing the midi the tempo track information so just again go to your preferences and we will choose right here to make sure that this isn't checked which it is by default i haven't gotten a good reason why that's checked by default so all right so my chat field just jumped on me let me see if i could uh get back to where it was all right um so see uh from i see a message from chase uh hi greg do you happen to be behind on emails i'm kind of waiting for response from mid-february so if you want to email me again sorry if i missed it sometimes i get an email and i may not respond to it i may just answer it in the in a hangout but please send me another email so you could send it to club cubase at steinberg dot d e um i'll try to keep an eye out for it if it comes in i just see uh in regards to the uh the the tempo track on midi so it's currently when i export media exports a node on every beat of the tempo map instead of only including the nodes where i changed the tempo so you can see that as i did it there it only only did the nodes where i had changed the tempo so all right wonderful to see kaiga on the hangout missing in new york i think it's just last week was a year since last time we had our club cubase meetings in new york okay all right so we have a question how to properly do a reversed symbol crash or symbol effect all right so let's see if we could we'll try a couple things here or let me just find um just loading our kit here so i'm just going to load one from uh like beat agent okay so if i come here let's just say okay okay so if you have it on beat agent you could just come here click on the pad and then there's a reverse option so you could just come over here and just do a so you know you could just reverse samples just by clicking on reverse here and then once you're here you could also choose you know like where you want the sample to start so let's say you wanted the sample uh to actually start maybe just a little closer and you could do let's say the same thing with the symbols i'll just come right over here so now let me just so that's probably the you know one of the easiest ways some people i know will take um you know their let's say if it's not reversed you know we'll just put in a note another method is just come here and it's gonna be on c sharp two so if you want that we could just take that particular file let's render in place from the edit menu all right so now we have kind of our symbol crash as an audio file if i said well good just play that let me just see if that's the right file let me just check that again and then once you have like the rendered sample you know i'll just come over here and let's say if i wanted a crash so sorry it wasn't obnoxiously loud the first one woke some people up probably so if i have that as my cymbal crash i could just kind of let's take that file and then you can just go to audio to reverse and now as we would play back this particular file it would just so you could do stuff like that but you know check out like you know if you just drop in a particular sample into groove agent at that point you know you could just reverse the particular sample you know one and once you have a sound inside a groove agent you could just and choose to reverse it so a couple different ways to do that i see that jazz dude says he needs my usb dongle so you should see my other one on my studio computer so uh so question is there a way to hear cubase output in zoom so i know some people will use you know different you know your audio interface may have a loopback device like the steinberg ur series will have a loopback function so you could use that for zoom um you know but it's really that zoom doesn't have kind of an audio input is really kind of the the issue how i do my hangouts and i've mentioned this many times in the past is i just have a separate usb mixer and i take my audio output from from my cubase out of its audio interface uh my microphone and the analog outputs of my audio interface go into a yamaha mixer with usb output and and zoom just sees my usb output and cubase sees my uh my audio interface which is a steinberg ur24c and that's how i'm i do all my zoom meetings and demos and all of my live streams so um so there's some other plugins like you know i see jazz dudes mentioned restream and some other tools like that but sometimes they can cause some uh system instabilities as people have found so all right so we have someone checking in uh from thailand welcome to the hangout not sure if we've had live people from thailand i know in asia it's really awkward time of the evening okay so we have a question hi greg a question that does howing in sonic by default has quick control mapped so yeah so when we go to load up like uh halley and sonic or hallie and sonic se we could see these uh automatically mapped so just this will work the same in either version so as soon as i come over here we'll load up a patch you know we could see it's probably not the best patch to look out for that but we could see kind of your quick controls let's say i just wanted to come here for uh maybe an organ patch that will have these quick controls that are mapped and so at this point um you could just you know map all your quick control functions directly here so say if i open up my quick controls you could do that but any function you could also just kind of right click and assign to you know particular quick controls as well so if you wanted to learn cc or assign different quick controls but they'll kind of give you the most the eight most go-to and relevant parameters per patch will just be done like that so if you even wanted to go to you know different synthesizers so let's say like if i wanted to go to uh chris st aubin simple wonderful instrument i could just come here and as we do that so just about any of yeah so it could be you know where you may need to assign the particular quick controls [Applause] [Music] but again just kind of uh you know right clicking and you could assign it to quick controls but all the factories have been kind of painstakingly set up by default so you can just turn it on and go all right great to see kai wen franklin from florida okay uh so you see from kai uh my cubase usb key is currently held together by some tape i see the usb key might be going away question so um so you know they steinberg has officially announced and they've made allusions to it and you know for the last couple years they've been working on this for a long time of migrating to a new licensing system so they made the official announcement last week so you know i'm not sure when that's going to be implemented still could be months off but you know they are you know moving strongly you know forward with that so that you know but if your usb key is working you could definitely you know still use it you know i've used the same usb e licenser like my work e-licenser i've used for maybe 20 could be 20 over 20 years now the same physical one that's what i've kind of moved you know when i was doing 120 plus flights a year uh traveling like crazy so but i still have kind of the same original e-licensor in my studio computer and my work computers that i've had all these times okay so question is there a way to reset plugins or instruments to default settings so um a lot of it could be up to the plugins themselves so a lot of plugins may have some different functions so a lot of times you'll see plugins that may have so let's say if i open up you know frequency eq so some of these like if you've gone too far uh many of them will have kind of like a default or an init like initialize so let's say if i come here to init um so some people will go through each plugin and save let's see if there's a default um but also if you go through you know here's kind of reset so you know but you could just do uh on the plug-in you know if you just do like alt you know alt option plus z you could if you've done a bunch of series that would allow you to undo like changes made in the plugin so some plugins will have like an initial status and others may just have a preset that's default so it could really depend upon the particular plug-in and a lot of times when you're kind of working on something if you wanted to get back to the default state i think it's if you kind of click control on the parameter so if i come here let's say i move my fader my panner eq so if i just come here and control click that will reset the particular parameters that you work on so to kind of the default state so but a lot of plug-ins like when we come here you could uh you know re just come over here and choose to you know reset plug-ins and it could be just a plug-in by plug-in basis but if it's particular parameters just try control or command and that will just kind of take it back to its kind of default value just like that all right so we're seeing there's lots of pollen in florida so um so i see greg what can you share about the usb key being replaced so you know really the only i know that it's been worked on for a long time and the only information that i really know is kind of what this statement is i haven't had a chance to haven't had any meetings with any of my colleagues in hamburg to get more information i could try to get something uh set up but you know i i have a feeling the last i heard was it's still going to be several months off you know there was some issues with the license server you know about two weeks ago that you know which is i think probably the catalyst you know because there's obviously a lot of frustration if you purchased a program that you can't activate the license so i think you know the timing of the announcement was to you know let people know that they are working on you know a more forward thinking solution so all right so you have a question is there a worthwhile update for cubase pro 11 yet uh will i do that in steinberg library so there is a maintenance release that's uh cubase 1101 so and the library manager is going to update the content but when you come over here you could just go to the steinberg download assistant and once you go to the download assistant at this point you could get the latest versions directly from here so so we go to cubase you say okay i'm running cubase pro 11 that here you could see you know what the latest uh versions are so i think with the 11.0.10 that's the main version there that you could also i think there's updates for uh retro log and groove agent and maybe pad shop you know some of the instruments were updated as well so so you do it through the steinberg download assistant uh so question hi is the third party audio engine like cubase ableton going to be supporting apple arm ecosystem like m1 chip soonly apple's releasing new products on 23rd uh thinking to take in the m1 16 gigabytes um so you know there is a pretty significant difference in like the underlying code i can't speak for ableton um i don't run the programs but i know that there's a lot of changes there's a lot of significant architectural changes that you know will need to go on so i don't anticipate it being you know real soon and there's lots of changes that could change so sometimes you know spending a lot of time doing some changes that only get you know uh it with the the next update uh it could be a frustrating thing to plan for uh so i don't anticipate it to be really soon it's a pretty deep architectural change and it's not only steinberg but it's you know just about every third party daw um you know we're working on you know to make sure that everything is working really well under rosetta but you know some stuff you know it's under investigation still it's a pretty uh deep uh deep you know change in the system architecture so you know okay so i was lucky and i got uh uh jan's question about the keyboard shortcuts and how to look for free ones so sometimes i when i do my index later i realize i totally misunderstood the question i feel like a big dummy so so you see from john costigan um so i you know i did receive the link for the dropbox uh and i think i got it like during a hangout and i forgot to download it but i'll make a note to myself to check out the files after the hangout today maybe i'll listen to them while i do the index later tonight thanks for the reminder john look forward to hearing it okay so i see a question from lloyd mitchell i'm an old multi-track tape analog person with that being said how can i set up cubase as if it's a tape machine when i'm doing vocals in other words hearing the particular track until i punch in so it's really a preference so we go to your preferences we'll select vst and you'll see your auto monitoring style select this switch just instead of manual to be tape machine style and then it'll function just like your analog deck so once again uh preferences vst auto monitoring tape machine style okay so i see a question uh i created a via a vca fader to control two guitar tracks i later changed my mind and deleted the vca fader but now the panning controls for those two tracks are missing how do i get them back all right so let's go ahead and recreate that scenario so i will add two audio tracks okay so right now i can see that these audio tracks are being routed out to the stereo out and stereo out so i will select both of these tracks right click and i will uh add a vca fader to the selected channels okay so we go to my mix console my vca is controlling the volume of these when i go to this particular track um so i'm going to now delete my vca fader okay and it seems like my panning is kind of working as expected so what i would do is uh on those particular tracks you know it may just be routed to no bus so when i deleted the vca fader to those tracks you know i still had my panning control but check to make sure that um i would check the output here and make sure that it's being sent to a destination so i i seen that with some other routing scenarios um where so that's what i would do i would check just to make sure that there is a destination in the output that it's not just kind of once you deleted the vca fader that it's being routed to nothing or being routed to a mono output or to a mono group or something like that so i think if you just try setting those to stereo out that you should get your panning back if i set this to like a mono out um you know so check that that's that would be the thing i would look at all right so to see comment uh we need a multi-track free warp feature in your ranger window please so yep the developers are aware of that so all right good to see soren from sweden all right okay a question hi greg is there a way to save the custom drum kit from groove agent 5 with the project sampler saves the samples into the project but groove agent 5 won't so what i've seen some people do is let's say i have my groove agent here all right so i'll just do it from my other projects where i know where it's being saved to okay i'm going to add a groove agent instance here okay so i'm gonna go just drag an audio file onto a pad here so i'll just all right imagine that's a beautiful drum sample so what i could do is just come right over here and export the kit with samples um and then i could just kind of come over here and put this directly into the project folder if you wanted to so let's say if i wanted to go here to hangouts and we'll say march 9th all right i'll go ahead and all right so all right so i'm just going to do this again just make sure i have two different folders so i know lots of people that will take all their custom-made samples for hallian and groove agent and just store it within the project folder itself so let's come over here and i'll close this particular project so you see there's the sample just kind of right there so activate the project and the samples are kind of just stored and recalled right there so just make sure that you actually export the kit with samples and you know if you export all the samples i do i you know i see this with lots of my friends um so as soon as you export the kit with the samples you know you know it should just automatically be recalled directly in the project for you but you know save it within the actual project folder so when you go to archive everything your samples are there your you know your drum samples your howling samples can all be found in the same kind of folder and that way just kind of archiving your projects makes it much easier uh so to see i'm getting an error that my browser can't be used for this stream i use chrome so i would think that chrome would be kind of compatible with youtube since they're kind of you know both owned by google so but it you know i don't know if you have a chance maybe to refresh it but it's just kind of like watching a youtube video i believe for your browser so but i'm not sure what could be causing that all right just going through a couple questions here okay so just see oh remember the midi issue i was having was not syncing up to my external layer or not syncing up to my external uh can't speak english today uh and it not syncing up to my external midi gear it's when the buffer set really high so that may be something to look into so um just out of curiosity if you're having a problem with it syncing up when the buffer is high just out of curiosity see if when you go to like your audio system uh if azio guard if if you deactivate azio guard if that makes a difference out of curiosity okay so we have a question from robert gilbert any way to have any windows centered in high dpi often they're outside the screen i can't see the top to drag them elsewhere like in the middle so you know if you have a window that's kind of let's say orphaned kind of outside you know i know some people you know they kind of keep it um so i don't have uh high dpis i have you know this is on my mac i have kind of a retina display but there may be some utility to kind of navigate around or if you just go to your windows um and then maybe if you just choose to like restore all just out of curiosity and see if that could re-trigger it from your windows menu and you may be able to also choose to zoom or close all the windows so i would see if that kind of will kind of reach re-jigger or something okay so is he uh from um pablo says that's fabulous greg but uh this is with the visibility agents um so i guess he wants to have eight independent visibility agents for each mix console so you know would that be possible in the future i made a request so i i will pass it along as well okay so you just see a question from michael teams uh greg having to try and clean up a mp3 file sent to me sounds muffled on the top end any ideas on the cleanup so sometimes you know and i see suggestion right after it's like just use eq but you know sometimes if there's nothing there to bring out it could be a little tricky um so i would i think nuendo has some good plugins for this but let me just take a look um we have a plug-in called uh spectralizer which is good for this type of stuff you see if there's kind of a modern equivalent yes what comes to mind michael might be something kind of like a oral exciter type of plug-in um so we used to make one called spectralizer where you could take kind of the second and third order harmonics and be able to tweak those let me just i know wavelab there's some functions for this as well so but if you have wave lab um let me just show you a quick tool okay so the master rig is a pretty good source for this i think if you go i think it might be in a limiter area where you could actually have kind of the second and third order harmonics that you could boost and sometimes you know just kind of think of it like the old affects or exciter kind of sounds like kind of what you need if there's kind of maybe like in a multi-generation analog thing and you need to kind of re-synthesize some of those you know second and third order harmonics uh if you know what the key of the song is you know something that you do you know if you figure out kind of what the key of the song is using the frequency under eq here you know i would just say okay you know let's say the song is in the key of a uh just go to your frequency here and say you know a six and you could now boost that and for this one we'll activate it you know make it and try just to kind of do the overtone series of this so we get kind of the different you know so let's say instead of like 10k you want to make it a 8 and boost that and maybe you could adjust a cue you know but try to if you know kind of what the key the tonal center of the song is i would boost maybe just on the tonal center and then you could kind of you know boost the overtone series as opposed to kind of just the fundamental frequencies but you could be a little more surgical about it okay um so we see a question from black fractal hi greg what's the best approach to direct offline processing when to use it does it save cpu power does it sound the same when plugins are on inserts instead thank you very much so if we have a particular file um so let's say i have a baseline from a friend of mine so and i wanted to take this particular uh file so right now this has three different plugins on it so if i go to my direct offline processing and let's go ahead and listen to it with the plugins bypassed so not like a huge but i'll go ahead and just add like the vst base amp just to make it a little more obvious let's make a little more uh gritty let's put some ampeg goodness on it [Music] [Music] my [Music] so okay so you know when we do direct offline processing we could come over here and uh we could just hit f7 to open it up and if we wanted to we could actually just take um i could save this as you know particular chain so but let's say if i want to take all of my inserts and just drop it right in so at that point all of my inserts that i had there have now been rendered to the particular file and i could bypass the inserts just like that so now we place back [Music] so instead of this taking cpu cycles to do that i could just drag all of my inserts to the selected clip and that's going to just do the offline processing now if i wanted to change the settings let's say i just wanted to dial in the eq and now let's add different cabinets i want an 8 by 10 cabinet now it's just reprocessed those changes [Music] [Music] and let's say if i wanted to put like you know a flanger on this [Music] so now just reprocess with that particular effect on it so this isn't taking any particular any cpu cycles or as we do this it's playing back an audio file that's been rendered with all those settings kind of intelligently um and it'll sound the same as when we you know so when we just drag those inserts it's going to sound the same as when they're being run live so so some people will just you know i want to take all my drums and run it through a magneto run it through you know this you know a quick room uh and run it through an eq or just you know i want to compress all of my drums and if you're going to kind of do that across all your tracks you could just render it in place in the old in the past people would tend to avoid rendering in place because you're kind of committed to it and it was considered a destructive edit but here i could say you know what that was all great except i didn't like the multi-band expander so what i could do now is just come over here and i could delete that one process within the middle or just change the signal flow order so you have kind of no downside to doing this so you have the same sound quality it does free up cpu resources you could just drag and drop them right into your file so you know if i was if i figured out my magic sauce here for the sound and i was handing off my files to someone else to mix and i didn't want to give them the ingredients to the magic sauce i would just render all the files and you know let them figure out how you got that sound so there's no real downside to direct offline processing okay so we have a question uh hi greg is there a way to monitor using headphones via laptop directly when hp is plugged in i get pc audio sounds when uh cubase sounds comes through laptop speakers cubase 11 artist so this could really just depend on you know many on-board sound cards will have a setting um and i can't really sh it's a bit different on mac uh but you know so if you plug headphones in it could automatically route the audio to the headphones out uh or it may just route it to internal speakers so depending on what the audio interface does when it's kind of when the headphones are connected some will uh you know connect that directly to it some you unplug it it goes to the speaker some it may go to the line out it really depends on the settings of the onboard audio interface themselves and sometimes you may uh when you go to like your studio setup and let's say if i switched to something like uh an onboard audio interface when i would go to the control panel here i could choose okay i wanted the output to go out of my headphones and you could maybe say you know directly from the control panel where we do this that you know we're going to send it to the headphone outs to the line out to the internal speakers but every it's really up to the and you could switch that but having it automatically configure it's really what your onboard audio interface does uh so you're kind of at the mercy of whatever the designers of that you know and if it's a huge problem you know consider just getting an inexpensive portable audio interface so you could just have headphones connected or not you know without any reconfiguration required okay so uh i just see questions sorry my chat line jumped thank you for all the wonderful questions if you have learned something new make sure you hit the like button if you have also um if you have not subscribed to the cubase youtube channel make sure you do that as well all right and again if you want to take part in our zoom session on saturday you send me an email to club cubase at steinberg dot d e and i'll send an invitation we'll mention it again on friday's live stream okay so just see what is ara ara is a way for programs to communicate with an external audio editor so if i wanted to take this particular audio file and run it through spectral layers because spectral layers or melodyne or like i think vocal line aren't a part of cubase they're kind of their own standalone editors what ara will allow you to do is through an extension to take that particular file kind of hand it over to ara within your cubase environment so it's kind of now in a third-party editing environment or you know or so and this is kind of a standard so you could do specialized audio editing to get audio into the editor to do the editing and then send it back to cubase all right thanks for all the wonderful questions let's go ahead and move on you see that agent k is famous michael teams is famous and gareth is famous that's good to know i'm lucky to hang out with you guys on these live streams all right so just see uh comment dang cubase 11 looks so much neater i'm stuck in 8 a.i you could always upgrade so uh so questions uh is there any plans for linux support i haven't heard of any discussion i mean it's kind of hard enough keeping up with all the architectural changes between mac and windows but i think it's a pretty huge undertaking for you know plugins and audio interface drivers and stuff like that so i'm not a linux expert but i haven't heard of any discussions for that all right so seeing links for uh the cubase nation discord which is a wonderful resource for all your you know where you could get a bunch of cubase information not during the live streams all right so we have some checking in from saudi arabia welcome to the hangout thanks for joining us and jazz dude is the one who's kind enough to get the um to organize the cubase nation discord we appreciate all's efforts all right so neurotic nexus joined us to hit the like button so we hope to see you more on your hangout all right so great to see remy from france on a hangout all right so just see uh question does anyone have any headphone recommendations i have a ur 22 original i think i'm losing some of the experience because of my five euro headphones um so you know currently what i've been using i've been really happy is uh i have the yamaha i think it's uh the mth8 let me see if i can see the model number on it yep something like that but i think in the usa sell for 199 but you know there's a zillion wonderful headphones but i've been really happy with my yamahas for mixing and having those translate i see people also recommending akg which i have i have a headphone collection you know some reason i keep buying headphones and microphones um incessantly for some reason but but i like my ak i have akg 240s i have some audio technicas but i've been using my uh yamaha headphones and all the live streams and i could wear them for you know seven hours a day without without any fatigue or they hurt my head all right great to see ian rushmore on the hangout um all right um all right so question from ian what are the differences between bounce render and export what are the benefits of each seems to me there's a lot of cross functionality okay so they they will kind of create new audio files so and they're kind of come up from different generations so let's say if i wanted to come here and i erased this part of the file and i wanted to make a new audio file that contained that uh silence in the middle so kind of that hole in the middle of the file so if i wanted to do that i could quickly just go to bounce selection and choose to replace the file and now this is one audio file that instead of being broken down into different segments that's you know that one particular audio file there now we could also do but that doesn't include processing so that's just taking the raw audio file and i can't really do that for virtual instruments so if i have a virtual instrument part all right and let me switch back to the audio interface that you guys can hear always comes back to bite you later all right okay so now let's say if i like i have a midi part so if it's a midi part i wanted to quickly turn that into an audio part uh that's when i could use render in place now when we go to render and place we have different settings so if i wanted to incorporate if i use the channel eq so let's say if i come here and i have my channel eq let me just go so i come here let's say while this is playing [Music] so let's say if i have done eq on it and let's say i want to put on like a an insert so say i'll just put on like a little bit of a compressor and let's add an effect maybe a slight chorusing on it [Music] all right so if i wanted to render that particular uh file to audio i could select the track or the event and this way it's going to be midi information so this is all going through the electric base [Music] so this is a wonderful instrument but now i could come over here to edit i could say render and place with the current settings um and i'll just undo that so i can show you the settings with the render and play so render and place i could do multiple tracks of audio i could do audio with effects and virtual instruments so when i come here i'm going to say let's go to the render settings i want to include the complete signal path which would be the sends as well and i could do that as one event and as i do that we could now and this track is disabled so all of the rendering has been just automatically included and when we play back it's automatically just rendered that particular file from us from the midi it we chose to disable the track i could also if i have the track selected i just wanted to turn this into uh some of the other settings i could say i just wanted to remove the source tracks so render in place i could take that midi with all the routing and just click render it's going to create the audio file and get rid of the actual file here so now we look at it the midi information is gone and when i get to use the actual export audio mix down most people would use this for making stems like all at once or being able to take um or be able to take every all of my different files with all the automation and everything going on and make a stereo mixdown file so um so if i wanted to just clean up edits and consolidate edits i would probably use the bounce selection for being able to consolidate edits with different effects processing and rendering vst instruments and multiple instruments at once i would use render in place when i needed to make stems for 400 tracks in my project and i needed to have you know an mp3 a wav file you know i need a 48k i need a 44.1 i need a 16 bit a 24 bit i need in you know all sorts of different file considerations i would do the render in place and just simply add those to the job queue so i could have multiple delivery formats so that's kind of a quick overview they kind of you know turn something into an audio file but they each have kind of their unique functions that can be optimized for different scenarios and workflows all right so i just see uh from where does he read the questions from just wondering so the questions are in the chat field but sometimes the chat is much farther ahead than i am in the uh in the discussion so you know i may be 30 to 45 minutes behind so okay so we have someone checking in from uruguay uh silly question maybe you can explain what the punch in button function is thank you all right so let's say if i wanted to do a you know a punch of just a particular section of this file so if i'm on the base part what i could do is i could just activate um my punch in and punch out so i'm gonna set the input for let's say okay i i messed up just this one little part so instead of while i'm playing having it automatically uh you know have to hit record enable play the part and then hit record out so i don't mess up you know i just want to replace the particular event what a punch in and punch out will allow me to do and you could activate this on the transport bar by clicking here or just hitting i and o so as i play here [Music] we can see it's just gonna so i will take this out of cycle so what i want to do now is as we play i just want to play along and then just in this little section that's been defined here the track will go into record and over dub and punch in to record and record and then punch out so if there's like one note or one word that was bad you could kind of play along and just do a punch [Music] so again i could just kind of roll back we punch in and this is kind of terminology you used from analog tape machine so you punch in the record head on that particular track [Music] goes in out and we have our new recording just like that so that's what punch in and punch out are and uh and as ian mentioned you know there's no silly questions um so i see a question do vst amps use over sampling i'm not absolutely sure uh but i know that they will use you know 64-bit uh precision so all the internal plug-ins will be 64-bit precision but i don't think that there's an option to turn over sampling uh on or off on the particular amps so but i'll just take a quick look just in case uh there's a good chance that they are but you know probably the more critical thing is that they're using higher level of precision for the processing so if i just wanted to go to let's say the vst amp racks i don't think that there is a particular over sample on off but when we go to look at the settings we could see that they're dynamic you know that they're processing precision when we go to look at it here so let's say we want to go to like our vst base amp so um yeah so all these will be you know 64-bit uh i think we could so at this point you know they're all 64-bit floating points so that's probably more critical than over sampling i know some some things try to you know get by with oversampling instead of processing precision but i think it's probably processing precision that makes it's more um that's going to be more critical all right okay so question is there a setting to allow dragging a vsti between existing tracks work before but not now using latest cubase 11. so i think if i just go to my media bay i go to vst instruments so let's say if i wanted to drop [Music] a retro log between these two instruments i just drag it from the media bay tiles and i could see that where it turns green here so just put it right here at the top and now the retrolog track will be added between the two bass trucks so if i undo that so if i want it between these two tracks i could just grab the plug-in and then i could place it wherever i want just like that so i think if you double-click that it will go below the last selected one if you just double click on a preset so if i'm here and double click on a preset that will open up the instrument and place it below the selected track and i think if no tracks are selected that it will probably just add it at the bottom okay reading through comments thanks for all the wonderful discussions and if you've learned something new make sure you hit the like button and subscribe to the channel all right so seeing discussion on people's headphones that they use okay uh so a question from benny b sorry my timeline just jumped on me hang on just one second get that sorted out i think we had a supervision question all right uh so i just see question um the supervision offers a lot of fancy metering windows but how do i use them what are they showing me uh example multi-correlation what do i see and what can solve problems so you know any of them can kind of solve problems you know one of the big ones that i would uh you know that i would kind of look at is let's say i'll just jump to a quick project over here let's open up our supervision plugin all right so you know we could see different levels you know so ones that i think are so i kind of like this is how i this is my preset that i made for so you know ones that i would look out for is going to be like your phase because a lot of times if we have if we see our phase you know and we could almost think of the phase as being like if we had if we're looking at the waveform uh and then we kind of rotated the waveform like you know we're used to seeing our digital audio waveform but if we rotated it like you know 90 degrees that we looked inside like you know like if we rotated it so we're looking inside of the waveform we kind of want our [Music] our actual file here uh to show that you know we're when we're doing this that you know we want this to kind of be round this is kind of you know one of the big ones so if you see this being straight up or down or going along the x here that would indicate that you're going to have phasing problems so you know once we want to come over here so let's look at um so this what is showing is which particular frequencies might be out of phase so we see kind of our correlation here if we had particular frequencies that were going out of phase this is what the multi-correlation kind of indicates so this is all good that these particular frequencies are in phase when we see it kind of dip into the red that indicates that those particular frequencies are out of phase you know and you could also kind of come over here and as you hover over if you see particular peaks and you want to know what the frequencies are you could just kind of move and say okay there's a little peak here maybe in the snare maybe i want to bring that up or down so you know we want to make sure that we have our balance here between left and right so if i wanted to let's say i'll open this up and i'll make it a little smaller and you can probably see the reaction i'm just going to take the panning here and let's say i want to go to my combined panner and if you watch this as we kind of make it more mono sounding you can kind of see some of the reaction in the meters so let's say i'll just put this kind of post fader [Music] so you can see how it's gonna a bit more you know and you know some it may take a while to kind of figure out what each of the meters does but you know try just you know loading in a track and you know look at you know just kind of get an idea of what is going on and you know sometimes you know deliberately break something so load up a stereo track and you know flip the phase on one of the channels and look at it so and then you'll be able to kind of get an idea of what's going on visually with that okay reading through different comments uh so a question from michael pierce ooh can you feed any cubases eqs midi data for note tracking could track fundamentals etc via very audio midi extraction so none of the eqs are really kind of set up to follow i think that there is a plug-in that could that is set up i forgot what it's called one of my friends in nashville uh was tell me about it but it's basically an eq that's designed to kind of work at the harmonics of chords and be able to emphasize that um i think you know his description was that it was you know maybe a bit more academic than practical but you know but conceptually um you could do that so but i think there are some third-party plug-ins that allow you to do that all right great to see capped energy music on a hangout all right so did you see a comment from gareth as a guitar player i find a steinberg guitarian plugins better than others all right so my chat field just jumped on me give me a second while i find my spot okay okay all right great to see sable winters on a hangout welcome um so just see what's the bass sound so if that's maybe referring to uh the file that we're playing before i'll just kind of show it's the steinberg electric base i'll just play a little bit of it um so let's just let me just jump here [Music] just take it out of records so this is a steinberg electric base so what's kind of cool about this is you could switch your different pickups if i wanted to be more of like a jazz bass and if i wanted to just be like the bridge only pickup of a jazz and you could adjust the tone and it's not just actually wrong off low end it's what like a real tone knob does so i could say okay let's make it sustain or if i want to be more muted and you could pick kind of different players and different styles of how they would play on a fingerboard and you could actually set from different key switches what string is actually being used you have like your amp simulators here and if you want to be more like a p bass [Music] or if you want to be in stereo kind of like a rick [Music] or jazz bass and there's all sorts of different playing articulations and inflections you have a whole pedal board as well that you can access as really kind of wonderful bass instrument that steinberg did all right all right great to see jvi and hang out okay so i see from fade man do you know when m1 cubase version will come out so you know it's a pretty big undertaking so you know they're doing lots of investigations to make sure but there's you know many third-party plug-ins and many audio interfaces that don't work in it yet so all right thanks for the kind words from people just enjoying the hangout thank you gareth for that looking forward to the new uh song to play bass on okay so just see is apple only selling m1s by now are they so cheap i found really so many purchase and purchasing them bling somehow so there's a lot of market momentum for it but you know it seems like some of the older processors are faster for a lot of stuff currently so we'll see as stuff gets optimized for it okay uh greg my ur 44 has this supposed loopback function could you please show us using you are how to loop back outside and inside of cubase um so i'm not sure if i could do it while cubase is open but when you let's see if i could get it sorted out here um so i think it's in a control panel that i can't necessarily open um directly while i'm in cubase but it's basically just a little control panel that just says you know enable loopback uh let me see if i could open it here i mean not be able to because i have cubase open [Music] um all right let me see if i could just if it allows me to do this here so i don't really let me see let me just get kind of an annoying message um but it might be in the settings cogwheel so when you come over here yeah i'm not able to access it i don't think directly from when i'm inside of cubase um that kind of do uh oh i'm sorry it's here loopback um so you could do either live cast or voice chat and so once you set this up for like a voice chat if someone is talking like if you're um let's say you're monitoring a conversation and you don't want someone is feeding you questions on an interview and you're recording it you know the incoming signal isn't recorded but so you could just kind of access it directly from there so see that neurotic nexus has the same problem with me collecting microphones and headphones so you can never have enough you know i didn't think i would buy any more mics i got i was able to get to uh 1968 u87s from the original owner for eighteen hundred dollars um and i was like oh why would i ever buy a mic after that and then you know i did so it's kind of bad and i see a great comment from gareth on headphones and you know i think the important thing is kind of like your studio monitors it's like you know but the most important thing is to use them all the time and listen to commercial music on them so it's kind of whatever you're used to whatever you're comfortable with all right all right so uh it says once you have edited your file and speculators in ara how do you close the spectrum return the edited file into cubase so let's say if i'm here all right so i'll just do quick edit all right and now as soon as you select the event i think you could just boom then you're right back to where you were let's see neurotic nexus just give the same solution i just did all right um all right so i see hi greg can you recommend a midi controller keyboard that works great with cubase weighty keys so sometimes uh you know keys can um you know the the feel of different keyboards could be a very subjective thing so a lot of people like the yamaha action they don't make a traditional controller but they make a lot of keyboards um so a lot of people i know will use like a yamaha like stage piano as a controller or you know sometimes the montage stuff um the akai controllers are very popular the ni controllers are popular lots of people love the integration with the nektar controllers when i've kind of messed around with the uh controllers from arturia i found them to be quite pleasant um so i think tim weinheimer was just commenting on our last zoom session how much he really likes his arturia so that may be something to look into as well so there's a couple different uh choices but you know sometimes just going to a store sometimes you may just you know to me it's like a base sometimes i could just go up to the store and i just and as a bass player i just you know pluck the a string and say oh no terrible awful oh you know and i don't even have to play it you can just tell how the wood resonates or doesn't um and to me like you know piano actions are like that i in my studio i still have an old old roland 80 controller that i really like the piano feel of and when my piano snob friends would come over that's the one that they all liked so so but it could be very personal um all right so just see so why are you having constantly having a midi input signal on the transport bar even when nothing is being played so that's my cc 121 controller and it's actually transmitting active sensing data so some devices will transmit active sensing and it's basically saying hey i'm here to it's you know basically just sending that information out constantly so that's what it is so it's just my controller sending uh my little my steinberg cc 121 controller that's sending active sensing data a lot of yamaha devices do that okay uh so you just see from dollhouse studios the chat moved too quickly question what was the string sample set that greg was playing in the classical piece on earlier so i think that's all the hallian symphonic orchestra so uh play a little bit of the bach the brandenburg concertos here so i think this is all hso so i think you know you can get it as part of the absolute four collection or buy the whole orchestra for a hundred bucks [Music] so i think it's all hso so that's that's where all those sounds are coming from it's been around for a while but you know a good uh violence you know from 400 years ago sounds like a good one from 10 years ago sounds like a great one now so that's all hso i'll play you another example something a little more uh that i kind of tweaked a little bit but not a whole lot but it's just a great little library and i love iconica for more extensive uh functions but i'll show you another one here of like a schubert piece as well and this is all uh the howie and symphonic orchestra and this is just a midi file that i kind of tweak some articulations and tempo for [Music] so it also helps when you're bach or schubert and you compose really well that can make you know string instruments sound really much better as well so but yeah that's just the that's all howie and symphonic orchestra uh on both of those pieces so um so again if i want to just look at it and it's those are all running in one instance of alien so just come over here say let's get to the macro view so all the brass and winds strings everything is just with the howie and symphonic orchestra um so to see what's the base sample set to is it available to all hallie and sonic sc users so yeah the electric bass sample that we just showed a couple minutes ago that works um that works entirely in halley and sonic sc and that's kind of the the beauty of the howie and format is that you know pretty much all the instruments are designed to run in all the versions so every cubase user that has halley and sonic se and it's also freely available for users of other platforms and you know so you could just run that and so every cubase users already has the sample playback engine so yeah and uh and michael teams had just a great comment about the controller light and just he's like just think of it as a handshake and that's what it is right active sensing so okay so we have questions what is the latest way to record output of a vst to an audio track all right so let's just jump back so you know there's a number of different ways of doing it one as we discussed is just to do a render in place so this isn't necessarily recording but you could just come right over here and just render that and now it's an audio file if you want it to record we could take the output of this particular track and um i could add a group track so let's say i want to come here and add a group channel i'll make a stereo group and i'll make a stereo audio file so i want to take this track uh and route it to the group and now when i go to this audio track i want to set its input from the group so now i will just record on this particular track and and this is also kind of handy if i wanted to just play play the instrument and record audio simultaneously i could arm the so now i could come directly here and i'm going to sequence and and now both of those files would record the midi information and the audio simultaneously so that's helpful for a lot of different scenarios like you know someone comes over with their vst instruments and they leave with them you know you could just track it as audio in real time so we have a question uh can we get more id3 tag fields when exporting mp3 mixdowns so you know we i had passed on recently some additional tags uh but if you have specific tags you want to email me to club cubase at steinberg yeah that's you can email me at club cubase at steinberg dot d e okay so i just see a question is there a record to layers function so if i wanted to [Music] let's say if i was recording just the audio part here so i will set just a quick let's let me just set a quick locator here just for [Music] just on this okay all right so if i wanted to layer different recordings i could come over here so let's say and i just wanted to put this into like cycle mode so i will come here and i'll just do a quick punch [Music] in [Music] all right so now every one of my little recording passes has shown up as different passes here that i could pick the best parts and kind of do a comp from just by using my little hand tool and i could say i like that part from that one and that's my perfect performance i never played contain continuously all right so we see from shirley he these streams are cool that's good all right my chat feel just jumped on me let me just scroll back sorry for my chat field moving all right i see i have some new songs to play bass on thanks for all the wonderful questions and we learned something new make sure you hit the like button all right we see that gareth is famous pablo has shared the news that's good uh so i see michael pierce just mentioned i think that might be surfer eq so i think that might be the one so all right gareth wants me to put some bass on the bass so that's good all right good to see jeff sebelski looks like he has his whole system up and running congratulations all right so we have a question from ian rushmore in audio editor there are many algorithms elastic and standard what do they relate to and what are the differences okay so when we go to like an audio file um you know the audio files can have different algorithms and sometimes as programs evolve you know kind of the uh thing that you don't want to do is to actually uh take away functionality so there's different algorithms so i'll just show maybe in the pool window here i'll just all right so there's going to be standard algorithms and these are introduced i believe in sx3 um and so these are kind of some of the older algorithms they still work really well um so but these are set up for you know as the name implies for drums maybe plucked could be for more like you know maybe acoustic guitars uh you know pads you know so that as you know like pad sounds vocals where you have kind of the harmonics the overall mix and solo mode which is going to be used for very audio so then newer algorithms became available but projects may have used these particular algorithms and these are just kind of optimized if you speed up the audio or if you change the pitch of audio that it goes to you could switch the algorithm to be kind of more uh well-suited or you know better designed for that particular function now when we go to our last eek we see three different categories so we're going to see efficient and this may not have the same high quality algorithm but if you have an older computer we see kind of uh as well as formant based so that will maintain the formant preservation so and that's often what can make someone sound older or younger even if it's kind of the same uh pitch could be the formants and how those relate and also the default algorithms which is the elastic pro and we see basically three different types of functions within each of those so you have one it's time and we can think of this more for rhythmic material when it's pitch which could be for vocals keyboard parts and then there's a tape mode and tape mode will emulate where as if you wanted to emulate kind of like an analog tape machine where you did where people would do very speed recording and slow the tape down and the pitch would change accordingly so if you played uh an analog tape machine from 30 inches per second to 15 inches per second it would be an octave lower so the tape algorithm as we change time will change the pitch just like an analog tape so that that's kind of a quick overview of the different uh algorithms for time stretching that we see there all right so you see michael teams is still buying mics too all right all right so just see from uh jeff sebelski's uh um okay then uh 2.1 gigabyte nvme drives and a 500 gigabyte ssd drive do i install steinberg on c drive and projects on second nvme drives i would probably use like the projects and maybe if you have uh and maybe the nvme drive probably for samples if you're doing lots of sample based stuff so i would do that and have the programs installed on your c drive all right just reading through comments all right so you see tim weinheimer's you know mentioning his arterial key lab 88 i think i think he has 88 mark ii for midi controllers all right so i just see from neurotic nexus did he say absolute four for a hundred dollars uh so the if you bought the uh hallian symphonic orchestra by itself it's um that is a hundred dollars but it's contained within the absolute four collection as well and jazz dude is saying that stradivari was a cubase nerd so okay uh i see a question can you export the hallian mixer and effects directly to cubase um so it's not set up like we have in uh with groove agent so if you're not familiar with this there's no way to immediately uh turn it over but for those people who don't know this particular function uh if we have a groove agent kit and we have lots of the mixer going on so you know because we have an internal mixer inside a groove agent but what we're able to do is you know so if i have lots of effects and eq's and i've done this for a number of different sources and let's you know apply compression so we could just turn on compression on the snare maybe an envelope shaper so if i wanted to carry all of these settings over into my cubase mixer we can now right click and we can say export mix and effects to cubase and now all the settings that we've done in groov agent have migrated to the mixer so that functionality doesn't exist in hallian to the best of my knowledge um but maybe we'll see it in the next generation of hallian which could obviously be a little more involved all right so we have uh t-box 666 666 checking in from switzerland thanks for joining us all right my chat field jumped on me let me just scroll back all right not too bad all right see ian rushmore saying quick more questions greg's catching up all right so uh it's a question i've been using cubase since the mid-90s how did it get its name and what does it mean so it doesn't really mean anything i think originally last time i was in germany uh this might have been 2019 uh i had lunch with manfred ruric who's you know one of my favorite people and he's he and charlie steinberg were the founders of the company uh so i was just kind of picking his brain on the early days and who got hired when and so originally it was going to be called qubit so there's still like i see online maybe on even wikipedia it was called qubit uh and they're going to be coming out with that as cubit and i think it was being there might have been a computer game at the time that was named qubit so right before the release because they they kind of changed the whole they you know came up with the whole arranger you know the linear format that you know most programs just about every program has migrated to because it was so genius when it originally came out so they had to come up with it i the story i was told was they had to come up with a name at the last minute because qubit was unavailable for legal reasons so they just came up with cubase so it doesn't really mean anything but you know i think it's you know what it represents now and what charlie and manfred created is just so wonderful and helps so many people so okay okay so a question from uh jason wood hi greg what's the main differences between howie and three and hallie and six uh many thanks jason so when we start getting into hallians six uh i would say you know we could use hallion for you know for doing all sorts of pretty amazing like you know you have hallie and sonic three and halley and sonic s e and i would describe those as like i want to play a bunch of great sounds uh but i don't necessarily i'm not the person i'm not a sound designer i don't want to make or create my own sounds i want to take sounds that other people are painstakingly created and take those sounds and be able to play those back so we could think of hallian as a big engine all right so this is our and hallion is a sampler it is where you could actually sample directly into it howien is multiple forms of synthesis so it's virtual analog it's wave table synthesizers it has an organ oscillator so it's going to have all those different components so if you just wanted to say i want to come over here and i want the the ability to have the electric bass so that when i want to play a particular sound that someone has you know has you know multiple velocity layers so when we go to look at the particular sample we could say okay you know i want to look at the sample and i wanted to look at the mapping you know some of this may be kind of on proprietary stuff so we could actually you know just kind of come here and i could see this beautiful instrument that someone has painstakingly sampled so if i just want sounds that other people have created that's like a hallian sonic s e or hallie and sonic is great for that but if i want to make my own sounds and make my own instruments create my own instruments and i wanted to sample and i wanted to take different sources and be able to say i want one instrument that's samples plus a wave table synth an organ oscillator and virtual analog with you know three oscillators and i want that to combine to make one sound uh that's when howlion is used so if you're interested in in making your own instruments creating your own instruments there's lots of people that do it you can release your own virtual instruments uh and many people you know have done this chris st aubin who i think is one of the moderators on the cubase users facebook page you know he he just you know he was really into he's that guy who's smart enough to make his own instruments so he's like i just want to come here and he created his own instrument so he could just come right over here and see you know you wanted to make a very powerful instrument called simple and a very simple to control instrument that's not intimidating or you can see kind of like your modulation you know your effects wheel you know your your effects and you could and he's selling this as an instrument uh danny lux who's probably one of the most prolific tv composers uh you know he's done grey's anatomy probably you know maybe 20 years by now you could actually you know he creates his own sound so he could have his own unique voice but and what that's going to allow you to do is you could come over here and just load up his particular instrument so we have composers that are selling instruments that they've created so we could have you so think of hallian as being the actual uh you know i want to create the instrument but if i just want to play back instruments that other people have created that's hallie and sonic hanging sonic sc okay okay so we have a question um okay is there any way to filter out from the midi region unwanted midi notes that are being triggered during recording so you know you could let's say if i have a number of instruments here i could say there's a couple of different approaches for this so let's all right so let's say i wanted to you know here i wanted to delete every note below uh c2 so we could do stuff like create conditions in a logical editor so i could say we want to uh you know delete types are equal to notes and we'll say value 1 which is their pitch is so i'll say value one [Music] is less than c three or c two so what this will do is every note below c2 will be deleted so you could do stuff like that and we could apply kind of this boolean concept where you could create conditions also just on what's called an input transformer so if i wanted to go here i could just say uh i want to you know delete you know so you can say i want to filter notes uh less than c two so now it won't even record it or i want to not record any pitch bend or after touch uh one of my colleagues at yama had a condition for me he wanted to take the velocity of notes and so if the note velocity was 100 he wanted to invert the velocity and turn it into midi portamento messages so we could do stuff like that using the input transformer to filter it so it doesn't even get into the midi stuff if it's already there you could just use like the logical editor to get rid of it okay so a question from michael teams uh is there a way to advance or back up slowly with a scrub wheel perhaps with your scroll wheel uh thanks so if we just come here let's say [Music] i will just switch my play tool to scrub you could just kind of you know hover over particular things there's also michael you could come to your key commands and i think it's called shuttle play so here i have some set up so i could just say okay i want this to you know play back it um so let's let me just find so i want to take this file and just i think it's [Music] so you could set up key commands to do that so let's say if i wanted to back at half speed i'll set up my key command so i could play back at double speed [Music] or at half speed and you could have you know play it real you know play forward rewind at these different speeds so just set up key commands for that um so you could just kind of do okay i wanted to play shuttle play reverse half time so let's say this i'll assign to key command so now i could just come here and so just kind of using key commands for being able to kind of play the whole project that way and that will work across kind of an an entire project as well i believe so let me just check [Music] jib forward or backwards okay so just see just probably a question from about the midi region so is there any way to filter out from midi region unwanted midi notes are being triggered during recording i'm using an audio to midi plug-in that allows me to trigger vst with my guitar so a lot of times you know certain things could get filtered out i know some people want some stuff like you know the notes to be done like especially for midi guitar um like delete short notes but sometimes it can't delete it it can't delete short notes because it doesn't know when the note is triggered how long the note will last so a lot of that could be up to you know the you know conversion within the guitar itself so all right i know we had some questions sent in we'll try to get to those quickly thanks for all the wonderful questions i hope everyone's learned something new okay so just see how come i need to buy cubase app in gh before i can use it without fruity loops so i'm not sure what gh is but generally you know before you run cubase you have to own a license for it uh all right so i see hi greg what's the um best way to insert a fermata or pause into a track so some people will just take like you know the tempo map and let's say [Music] so let's say you're right there if you wanted to put it for motto so some people will just you know come right over here and just kind of draw in tempo changes like uh so just probably be awful and then if you have these react in musical mode but you could also drop in for mod is in the score editor so i'm not sure if it you wanted to uh playback but let's take a look in the score editor all right and let me activate the correct project that would help sorry about that all right so let's say if we want to do so but i'm not sure if this will actually change the timing of it yeah so i think just putting the fermata is going to be more cosmetic at that time all right um so let's go ahead and go i know we had some of the questions mailed in and we got through some of them already so okay so let me open up project here so i think my son should be home for his first day of school in a couple minutes hopefully so hope you had a good first day our house was so quiet today okay so we had a question um how to quantize audio from the feel of a midi part um so if we have a midi part here so let's say these two kind of aren't uh necessarily lining up you know so i know some people will you know take uh the you know let's say if we have your quantize value here set to eighth you could take you know a midi part and drag it into the quantize panel come over here to the midi editor and go to let's say your hit points and we could adjust kind of the sensitivity of that and now we have um and we'll create slices of this and now what we could do is actually just quantize the appearance here so i'm just going to select like an audio warp quantize and at this point i could quantize based on the timing of that particular event so as we do that these two events will can just kind of line up but so you could just kind of play around with you know being able to you know go through and quantize you know based on and you could extract the feel of the audio and apply it to midi or vice versa so you could save any of these as different quantized presets so even if you're in this particular one you could say create groove and that groove from there can be used for other midi parts or the groove from the midi part to audio parts okay so uh um so say a question greg i managed to get vst connect established with a friend he had a little trouble hearing me and hearing the track uh but i was able to record the performance with no problem is there any way we can establish better monitoring on my friend's end so when you're doing the vst you know connect you know one of the things that's always helpful to do is just you know take i think you could even i've seen some people just do it from the main mix and it'll say okay i want to come here to my cue sends and where you have the vst connect kind of routed to because it's going to go into the control room so let's say we'll do it on our fourth monitor mix is you need to make sure that the monitor mix is uh first enabled uh and then this way you could take the mix and send that through the cues to your friend so it could it's a little you know conceptually once you kind of look at it it doesn't make you know it's not so bad but once you kind of say that the audio that they're hearing is going through the control room that's usually when a lot of people get that's when the little epiphany switch clicks um so i just see a question another friend has cubase elements 11 can he use vst connect performer can it be used with cubase ai i use cubase 11 pro so the person that's running vst connect performer they don't have to be a cubase user it's a for mac and pc it's a free download i think on ios through the apple app store it is just like 4.99 so they could be running any program so all right uh so we have question uh every 15 minutes i have crackdown i can't uh use cubase 11 have a laptop medion razer 2015 graphic card nvidia geforce gtx 765m it works wonderful with cubase 8 9 10. um i read the cubase 11 let the vst plugins be calculated on a graphics card so not as usual on the cpu why please tell steinberg about this problem they don't answer me uh he sent the photo people say i should change the old dongle with a new one my dongle's 2012 model but it works at the same laptop in cubase 10 thank you so i passed this on to or uh i know so it's probably a european address with a dot d e uh and i passed it on to our support department in hamburg so they should be reaching out to you but cubase 11 doesn't use the seep that doesn't use uh the graphics card for processing of the plugins it can use it for dealing with the plug-in interfaces and some of the plug-in interfaces can take a lot of power just you know as the as the plug-in interface is going up but again it's not you know the processing isn't isn't being done on the you know the audio processing isn't being done so um hopefully you should hear from the team in hamburg and they could look at the error message from you i got a message that they were going to reach out to you all right okay uh so i'd seen some arpeggiator videos of the yamaha motif xf montage which were midi pattern based and chord aware then i saw the cubase apache sx could be polyphonic midi patterns so i have a couple of theoretical use cases and wondered if this was possible i'm a guitarist not a keyboardist but i love interacting with synths in real time uh so in the left hand one finger keyboard midi note triggers a chord pad from diatonic set midi notes of chord pad triggers for apache sx instances um so i think you know there's a couple of ways doing this and this is one of the great things that we actually have inside of hallian or hallie and sonic uh i don't think this comes in the hallie and sonic s e but i kind of created a patch here uh where we just said okay i wanted to take just a synth patch and i wanted to take strings uh a guitar let's say an organ as well as a a like a synth solo so i will go ahead and kind of bring these in one at a time and i created just a quick midi layer so i said you know the synth is only going to be able to use these particular voices and these aren't going to be using the lower voices and for the different instruments so if i play this up above c2 it's not going to play so just the bottom octave is one single midi note uh and then i added a string part that i could play but for each of these string parts and you mentioned the motif eos or the motif but i went to the program i click on edit and this is in holly and sonic or howie and you could do this and then you'll see the flex phraser so we could actually add like the flex phraser for the string so i could have a string patch that only plays in that in that particular range so when i hold down a chord i can now click on and this is one of the one of the arpeggiators so that will play and now if i want to do this for like a nylon guitar and let's say for a pipe organ and let's say maybe like a synth so like i'm not i'm a bass player so i'm not a great keyboardist by any means but now i could just come here and i could act like i'm a really you know coming up with just playing one chord [Music] and you could kind of build up your layers and all of your different arpeggios and just kind of play and i have these all assigned to one midi note one midi channel and it will just kind of play all those things so each one of these tracks will have their own flex razor so it's doing the arpeggios and we could split and this is kind of the beauty of and i've moved like the the you know synth down an octave so you could just have everything layered just like that so you could do it kind of the way you described it but i think you would spend like you know like an hour setting up each particular um you know scenario and then if you want to play a different chord it might you know take you a long time so i think this would give you a little more instant gratification so if you kind of you know this is very similar in concept to what you would get on like a lot of keyboard workstations okay so we had a question about the headphones i think we covered that already about you know being able to unplug the uh your headphones and have it switched to speakers plug your headphones have it routed too so it's going to be just settings in the audio interface all right so question i would like to see uh is versions on folder tracks and also group channel integration with folders in some way thanks for taking input so one of the things that a lot of people miss is the ability to actually take our folder let's say i have a number of audio tracks there's actually a macro that comes standard with cubase if we come here to your macros and it's going to be selected tracks to folder and add group channel so we give it a name hit enter so now all of the tracks are put into a folder track and we could also just uh have that be that folder track all routed to a group channel so i'll mention and pass on about the ability of you know maybe having track versions on folder tracks but give that a try for adding folders and groups simultaneously okay um so just a continuation from friday's hangout from yan about the uh delete bars um so um using the process bars so it says this is a very small question i wonder if i missed something with the benefits of not using the locator [Music] okay so in the process dialog the number of bars beats to add delete is specified in the length and bars field this length and bars field is pre-filled where locator length is involved this means that each time i have to change the pre-filled value for something to two each time did i miss something what is the benefits of using the locator why is the locator involved when delete or insert beats for me it's easier to enter the number in the length of bars field i use the locator for other things i don't want to change the locator of length or position sometimes i use insert silence add bars that way something easier to use to remove bars not found other way than using the signature track all right so if we have our signature track here so let's say i have 4 4 and at this point i'll make this a 5 4 and let's say back to 4 4 there all right so if we want to and i think you could just kind of use um so let's say if i want to go to my process bars dialog so this is if you need to set up like a bunch of so i could say you know our start position is it measure six or you know so i could say let's go to uh measure nine and now i want to insert bars and i wanted this to be five eight uh and i wanted this to insert three bars of five eight but still keep all these others so at that point i could just put in my three bars of five eight and still have these other functions now i think that if you didn't want to just automatically add these that you could also probably do this just using the range function so if i wanted to take these two bars here say measure seven through nine i could just grab this with my range selection and go to the edit to range and at this time i could just insert silence and that will still keep the bar uh so that could move everything down but it doesn't necessarily insert a different time signature so you know this allows you to insert and put time signature at that specific point in time and i think that's kind of the the concept of it okay so we covered that question see how we're doing on time thanks for all the wonderful questions all right all right so we had a question uh is there a way to slow down a horizontal scroll bar sensitivity in a project window in cubase 11 is so fast it's almost unusable the vertical scroll on the other hand is perfect so i don't know of a particular way so if we want to scroll up and down but if i hold down the shift key so it seems so when i use my you know to me this is feels very similar let me just try it on a different project with some more data on it all right and i'll just duplicate these tracks a couple times all right so now when i scroll up and down using the scroll bar so they seem pretty similar as i'm adjusting it here um and it could be maybe that you have the you know if you zoom in that you know because it could be maybe the horizontal zoom is set differently so if that is so you know i'm just holding down my shift key to zoom up and so to zoom vertically or to move horizontally i know some people will also just uh you know hold down their the scroll wheel and be able to kind of navigate like that just by pressing and holding the scroll wheel but you know check to see if you adjust the horizontal zoom if that makes a difference all right so we have just a couple minutes left i'll go back to our live questions thanks again for all the wonderful questions okay so question i just switched from pro tools to cubase when i pull a clip from the bottom instead of shortening it from that end it trims the clip from the other side is there a way to fix this so let's cut in take a look at it okay um so when i pull clip from the bottom instead of shortening it from that end it trims the clip from the other side so it's probably you're just in uh there's three different sizing modes so it sounds like maybe you're in uh sizing moves contents so if it looks like this as you do it you just want to go to normal sizing here and you could often just hit one a couple times to cycle between those if you wanted just to be to just trim it just grab that but if you go to sizing moves contents at that point it will just kind of move keep that ending and then as you trim it have the other parts fall so just i think if you just switch that mode to normal sizing that you should be all set alright we'll see if there's a real quick question before we wrap up all right and my timeline just kind of jumped on me so i'll use that uh i'm going to try to wrap up maybe a minute early so i want to thank everyone for all the questions again if you wanted to be invited to our zoom get together on saturday um send me an email to club cubase at steinberg dot d e i want to thank everyone for all their help no jazz dude's always super helpful agent k for moderating i really appreciate all the support and we will see everyone friday at 1pm us eastern at the same time and everyone stay safe and healthy and we'll see you soon take care

Channel: Cubase

Views: 7,084

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: kcNfGEY5hm0

Length: 239min 20sec (14360 seconds)

Published: Tue Mar 09 2021