How to Start Using the Chord Track | Club Cubase December 18 2020

all right welcome to the december 18 2020 club cubase google hangout i'm just going to do a quick audio test and then we'll get started here in just a couple of minutes just refresh my browser all right welcome to okay that sounds like it's coming through just fine all right so my name is greg undo i'm going to be the host of the hangout today if you haven't attended a hangout before this is kind of a live interactive q a session you could submit questions in advance to club cubase at steinberg.de or you could just ask your questions in the comments field uh in in the live chat area we'll try to get through as many questions as we we can we'll try to go for maybe about four hours today um so just a couple of things uh sometimes when asking questions uh if you are if you could send you know indicate you know i'm running cubase pro 11 on mac or i'm running cubase artist 10.5 on windows 10. some of that information could be helpful this hangout will be replayed afterwards we'll try to have the hangout index done later tonight after the hangout but if you're watching this on the replay you may want to skip ahead till like 8 or 10 minutes as people get logged in so we will go ahead and let people get logged in and we'll do some quick introductions so if you're watching this and uh don't uh and want to just kind of uh skip to where the hangout starts you may we'll you could probably see it in the time stamp index um so we could we could do that all right so let's go ahead um so a couple of other things my family is at home as i'm doing the hangout so we may i may be interrupted to have to do something with my son you may hear my wife who's working directly above me so i'll apologize in advance for any of the interruptions we'll try to make them as minimal as possible so i'm presenting from the united states i work as a product specialist for yamaha corporation of america primarily focusing on steinberg products and i'm presenting from alexandria virginia if you're on the hangout if you want to just tell us kind of where you're from uh you could introduce yourself tell us where you're from and also if this is your first hangout we could if you could just let us know that as well so we'll go ahead and see who is on the hangout and get started here in just a couple minutes as more people get logged in so i see all right so we have uh ace amadeus from texas i believe we have neurotic nexus i believe from germany all right okay so just i see from jeremy spencer's on okay okay we see walter blackledge from st louis all right so we have john costigan from kenosha sir robert from atlanta all right so more people are getting logged in okay so we have robbery bowling from dallas texas all right so we have brianna from yotown all right so people are logging in like an hour and a half before the hangout all right so let's see who else is on all right all right we see gareth is on all right so we have taylor from pine grove we have ted springman from sherman oaks we have don from finland all right so we have soren from sweden all right so we have joe from the dc burbs so joe if you let me know where you live in the dc burbs that's where i'm based in alexandria between old town and mount vernon all right so we have london okay so we have stefan from sweden we have berlin all right so we have josh from northampton massachusetts all right so we have upper west side new york city all right so we have jerry from hibbing minnesota bob dylan hometown all right you have yon from uh stockholm who does the cubase index where you could actually search for different topics okay so alexander from connecticut okay i see joe is from herndon virginia so not far all right so we have berkshire uk liverpool scotland derek from scotland all right so we have rui first time here welcome all right so we have eric from paris all right so we have finland i think it's uno i'm probably mispronouncing that sorry all right so we'll get started here in just about in our minute and getting people logged in all right so we have grease all right all right so rolf from from frankfurt all right so we have michael from weatherford texas good to see you all right maybe in our 30 seconds we'll get started some more people getting logged in all right so we have tim from mission viejo california all right pablo from galicia espana is here good to see you pablo i heard i got some gareth sent me a couple of new songs today all right and just saw email from gareth pop up i'll read it later all right so we have max from india all right we have eric's is from paris but used to live in oakton so a couple people from northern virginia hang out today okay so let's go ahead and get started um okay so a question from ace amideo amadeus hi greg how are you hope you and your family are well uh we're doing great thank you for asking uh cubase 10.5 what are the settings to record a live violin convert to midi use very audio so i can then assign to midi to hallyon thanks so if i if you want to do this you could just take any audio recording uh let's say if i wanted to do even something i'll just start off with a project here let me see so let's say we'll just take this so if i wanted to take like this uh string based performance uh we could go into very audio let's do uh edit to very audio so it could do all of its um pitch detection for us and then under functions you could say extract midi so at this point we could say we want to retain the dynamic velocity and hit ok and this will automatically convert that and make a new midi file a midi track just like this so if i wanted to assign this to a particular instrument i could come and let's just load up quick kali and sonic se so if i wanted to just have this played back on let's say string part so i'll go ahead and load up a quick patch and i will set this to my honey and sonic see so and that's really all you have to do so i could take that performance of the audio so that's how you could uh do that quite quickly so again just kind of once you do record the audio go to very audio you could click on edit very audio and under the functions just choose to extract midi okay question from oliver uh hello how do i merge individual tracks to one stereo track so you know you could do this a number of different ways so if you're doing kind of like a mix down overall what you could say like if you have multiple files here i could take i'll just do kind of a short segment for time's sake and what i could do is i could just take these and choose an audio mix down and i'll just choose to do a single file of my stereo out i'll give it a name and i want to automatically create an audio track with that so i will add that to my job queue let's say start q export and now that's automatically done and that's incorporated it directly into uh my audio files here so if i just wanted to play just that particular file so that's that's one way of doing it you could also choose to you know take a number of different files and if we have let's say i want to take like these piano tracks here um and do like a sub mix of these we could choose to do uh a render in place as another function so if i say okay let's do a render settings and at this point i could just say mix down to one audio file and when we come here we could say um yeah if you're doing the channel settings we can say mix down to one audio file you could place a check there and that will automatically just do a render in place and you could choose to mute the other files and this could now be so those files are muted and that's another way that you could do kind of mix downs as well so uh if you have a stereo file you know that another method that you could use um i'm just okay just so that's that's kind of one way but if you wanna i'm just say individual tracks to one stereo track so yeah so that those are a couple different ways to do that all right and i see neurotic nexus is also saying you could assign them to a group track and assign create a stereo audio track and send that you know from the group as well so okay so question hi greg i hope you're well done great thank you uh how can i see the editor in the other both my midi notes and rendered behind an audio file so i could line up midi notes to transients not sure if it's possible so you know if you have you know you're not going to be able to see you know there's audio editors and midi editors you know so they could be a little different but what you can do is if you have the midi editor in the lower zone we could choose to synchronize and link the two settings so if i'm in my midi editor i could have the sample editor open kind of directly above so now as i move i could align the you know the midi notes and just see it kind of exactly you know as i move them where they fall uh in time but this way you know the two will be kind of forever in sync and i believe that's a default mode and you could deactivate that so that those functions are kind of independent but clicking on this little chain icon here in the lower zone midi editor that will allow you to kind of zoom simultaneously and have the position within both editors but you know the audio editor the part editor or this or the midi editors are kind of separate distinct editors so you can't really see one kind of superimposed on the other but i think that will kind of get you where you want pretty easily okay so we have a question i have an audio file which has been tempo detected and i set the definition from the tempo i have a midi piano part that that which needs to follow the audio when i speed up the tempo but it does not sync so let's take a look uh i'll just i think i have a quick tempo detection file we could work with okay so let's say there's no correlation between the bar and beat and our track here so it's like a free form recording not recorded to click track just musicians speeding up ebbing and flowing slowing down as necessary so if i wanted to take this particular audio file and at this point we'll do a tempo detection from the project menu all right and let's go ahead just listen to it okay so we have kind of our tempo detection done okay so it says now you have a midi piano part which you need to follow the audio when i speed up the tempo uh but it does not sync so i'm going to go ahead and at this point we'll select this particular audio file and i'm going to go to audio to offline process so if we wanted to be able to change the tempo of this audio file we'd want to take all these tempo changes and kind of embed that metadata into the audio files themselves so i'm going to come here and under advanced we'll say set definition from tempo so at this point let's look for a quick midi loop all right so i'll just try to find a piano and this probably won't work harmonically okay so i'll just try some electric piano so okay so i'll just kind of drag this over and what i want to do is make sure that you know as we do this we want to kind of define where the downbeat is just going to be right here so i'm going to just place that as we're in 4 4. so if i wanted to drop that and we'll just kind of start it at okay so you know once you do this make sure that you have you know with audio parts we could have it set to musical mode but we could have uh midi tracks to track itself you know on audio we could have the event or the track be in musical or linear mode but midi we could choose to have it in linear or musical mode just at the track level so let's say i have this and let's say obviously this doesn't work kind of harmonically but as i would adjust the tempo i could keep that relationship between these two and let's say if i wanted that to kind of just ramp up so this is my midi track but if this was if this midi track was set to uh linear mode it would just kind of play back the same tempo the whole time so if i wanted to just put this track into musical mode we could hear how this is going to speed up to match the tempo so so make sure that the particular track you know is the midi track itself is in uh musical mode but that's really kind of all you should have to do so let me know if you did something different or if i misunderstood but uh it seems like it's you know and depending on the part you know make sure that a you know the tempo detection was originally done and that you have you know like the downbeat defined correctly so but it seems like that's kind of working as expected all right good to see agent k in a hangout who's always kind enough to do some moderation when needed we appreciate that kind of keeps everything in order okay all right gareth is welcome greg and the cubase city rollers so all right it's a witty all right okay just going through some introductions are you saying we see marco from italy okay so we see uh gregory brown from florida is on his first hangout welcome feel free to ask any question all right so a question from samuel there there are many problems installing the audio device must be auto detected in the future so you know if the audio you know we kind of depend upon the audio interface drivers you know needing to be installed correctly for cubase to see it's of the drivers aren't installed at an operating s at the operating system level or if it's not actually going to be in you know installed correctly we we can't automatically just auto detect audio interfaces because many of them will actually have um you know we need to have the capabilities to actually see what is particularly going on um you know with the audio interface so if it's not being seen by the computer we can't really auto detect it so um you know so check those things and make sure that you have like the latest drivers for your audio interface uh samuel and see if you actually um you know have the latest ones if that's kind of working but you know i haven't had to reinstall my you know once i kind of have it set it's kind of good to go for me okay all right um all right so we have a question uh from derek uh from scotland wondering if there's any way to modify how the cursor works in the editor window can you have a static cursor and moving in the background all right so let's say if i have um like all of these parts selected i'll just do something that's going to sound good all right so especially when kind of working with the lower zones but you could there's a couple of functions that sometimes people aren't necessarily aware of so we'll show some of these so let's say i have this particular part here so i'm just going to um so say as we select all these events and i wanted to look at my editor window okay so we have this as we noted earlier that these can be in sync or they could be kind of independent of each other so a lot of people keep it in sync but if we go to the setting we could do this in the project window but we could also choose to have uh if we just on click right here to the follow uh event you could also just choose to have this be a stationary cursor so let's say i have these unsynced uh i will choose this to be like page scroll so this will at the top redraw when it gets to the end and then my midi data once this is unsynced can continually scroll so if i synchronize it but if i choose just stationary cursor this can automatically just kind of progress and all the data move independently so that this way this will only redraw when it needs to and this could continually scroll so just when you go to uh you know the follow settings you could choose it to be stationary and unlinked so and if you're doing this in the main editor you can kind of do kind of the same function here so i'll just say stationary cursor and we'll enable follow so a lot of times i kind of like this unless i'm editing and then i'll choose to kind of sync but for like typical piano roll editing i find this is pretty cool the pretty cool way to work so hopefully that kind of does what you want uh derek all right so let's move on all right all right so we have john from new jersey all right all right uh hi greg my name is also greg that's good uh all right so let me see i think my chat field jumped on me all right bear with me just second um okay so from tim weinheimer uh from mission viejo got steinberg electric bass and wave 10 elements could you show us a little on electric bass thanks greg and steinberg for all the great software so i can't really take credit for the software but the people at steinberg you know sometimes you know they they spend a lot of time coming up with like really creative solutions let's take a look at the electric bass i don't think i have my full controller i just have kind of a smaller controller you see i thought i had a dedicated project for it see if i have it still on my okay so i'll just kind of sorry i usually have a project set up for it because i did i did a tutorial video on electric bass but show some of the stuff that you could do so okay so let's come over here and say actually some of the things that i really like about it so say we'll just start off me with like a jazz bass kind of sound so let's go ahead to the edit page all right so one is as you kind of come here so you're gonna have you know first off you're gonna have the capability of having kind of uh different pickup configurations so if you want you know jazz bass we're two single coils or if you want more of a p bass and i'll just go ahead and make this just a little louder uh you could choose to have this be like a music man pick up configuration or if you wanted to be more like the neck only or the bridge only so if you want kind of a classic stingray or classic jazz bass back pickup you could also just do kind of like stereo kind of like a rickenbacker and there's going to be different um sustain a different kind of articulation so if you want it to be sustained which is what we've been listening to or you could say i want this to be slap and let me just you could choose to do like a slap pull and then you could also choose to do like mute it kind of like a vintage p bass with the foam mute in the bridge with this you also are going to have kind of your tone control as well so say if i wanted to put this on kind of sustain and you could have kind of different players these players could actually determine like you know what as it moves up and down the fretboard but you could actually pick and choose to have you know i only want notes to play on the low b string or i wanted to have notes only play on the e string because every single note is sampled so you could actually you know because you could play let's say an open g on you know let's say an e string that's going to sound very different than on the a string or the open string so you could choose which actual string is actually going to be part of the particular note now as you come you could have you know not only kind of the di sound but you could have an amplifier section so if you wanted to turn on uh the amp you know you're able to you know come right over here and just say okay let's turn on different amps and different effects sections of this and be able to kind of just choose between you know different amplifiers and effects you could also choose to do different articulations so let's say if i wanted to so if you wanted to have it automatically slide up and do like different hammer-ons you have the ability to do that you could also choose uh you know if you how you want to slide speed you know if you want to be in quarter notes you want it to be tempo synced your pitch bend range you could choose also you know different shape different finishes for your base they don't really change the sound and you'll have different effects that you could have so if you wanted to even come over here this looks mysteriously like a sans amp you know that you could and other different effects so you could say okay i wanted to now come and have like really heavy compression uh full amplifier section so if you want it to be kind of very svt ish you know it looks very and sounds you know very much like an amp egg in different amplifiers that have been modeled also your different speaker configurations so if you wanted like maybe like a fridge svt cabinet or if you want it like a 115 you could do that and plus all of your different uh amplifier controls that you could have and you could just kind of drag and drop and change you know different uh order so if you wanted to have like you know your graphic eq so you know the thing that i really appreciated especially being a bassist um and like when they kind of showed it to me earlier you know like to me the big thing was being able to take you know your different you know take the different strings you know because a lot of times you know you may like you know again playing like a g note like you could play it on the open string that sounds very different than playing it on you know the e string and sometimes as a bass player you play the thicker string to get a particular sound so that when you play a note you could actually just you know play that note on each of the strings and that's the thing for me that can make a big sound and kind of the realistic nature so it's so it's a wonderful instrument and with the different pickup configurations i see a lot of libraries where it's like oh you know you have the jazz bass and now you have a p bass and now you have uh like a rickenbacker kind of samples whereas this with all the different pickup configurations kind of gives you all the different options as you see fit and you could automate you know between them very easily so congratulations on your electric bass it's a wonderful instrument all right so you see i didn't butcher uno's uh momento pronunciation on his name so that's good okay so i see uh rui is struggling a lot on chord tracks so let's take a quick look so i'm not sure if there's a particular aspect that's perplexing to you but we could show you a couple things that you could do with chord tracks that could uh maybe you know make it a little more approachable you know you could do incredible uh you know incredible things with chord tracks but you could also just you know i like i like it for doing very kind of simple like initial coming up with the idea of songs so let's just show okay so let's say if i am starting a song and maybe i have a like a quick drum loop so let's see um so and i just wanted to come up with like a quick chord progression you know we've all been inspired and a lot of times as composers we can get into or songwriters it's very easy to get into like a musical rut of exactly you know what we want to do chord wise so let's say i wanted this to be like an f chord and the next chord i want to be maybe like a b flat and then i want to end on a c chord okay let's adjust my gain structure here but let's say i don't know a good chord between b and c so i could actually double-click and have cubase give me chord suggestions based on proximity or circle of fifths so if you wanted to just kind of come here do that or you could say i wanted to just look at the chords uh based on cadence or common notes with different levels of complexity so let's say i wanted to be like a very simple complexity so i say uh what about g minor so we it could give us a chord that's going to work musically by doing an analysis before and after the particular chords as i look at this we could also say you know if you give this to a guitar player and this you know like trumpet players and brass players would generally feel very comfortable in like key of f major but give to guitar player they probably want it in e or let's say the singer isn't comfortable you could just kind of drag you know you could say okay i want this to let's say okay switch that to minor but i i'm gonna select the chords and just on the rookie and we could just transpose and now that we have that done i could take these chords and drag them down and it'll just make you know these so i'm just going to drag these right down and we've now created a part that's actually just the chords that we've worked with now where it gets really interesting is that we could take an existing composition so let's say i have kind of something a bit soundtracky so when i come let's say i'll just start off so so now you could tell the tracks to actually follow chord tracks or not so let's say if i'm here and i want this to be like maybe an e chord or start off maybe d so even though the midi parts have all been kind of written i could just say okay let's come here and say i want to be able to do just a quick turnaround but let's say at this point i want this to be like an e chord so all the parts are just changing based upon the chords that we've entered so say i want that to be an e minor chord so let's go ahead and just and then we can do a turnaround so you know into you know tell the parts to actually follow chords you could select the track and go to chords and you could just tell it to follow chord track follow chords and scales and then that will kind of automatically change so if you have hundreds of tracks you could just have them automatically kind of follow the chords that you type in and try out different ideas that you probably wouldn't really experiment with before because it was too hard um so you just see from john costigan uh hi greg any notes on using the townsend l22 mic in cubase i haven't really worked with it but i you know understand the concept that's a modeling microphone um so probably i'm sure that whatever has kind of been recorded into cubase that you would probably you know load up different microphone profiles or models based upon the recording so um so but nothing really is you know cubase specific with that so but i think you would just you know maybe find the one that works the best for you and and load up that model i've heard really good things about the townsend uh mic modeling system so let us know how it works out for you now we see capped energy music on it's good all right so we see pete on okay so we see uh hi greg any chance you could talk about the new meters um okay so let's go ahead and just talk about some of we'll just kind of play this so you know we could place this and as like an insert i'll just come here and let's go to the analyzer and i assume this is probably the supervision plug-in um so let me just load it in the right spot that would be helpful okay so we could start this off with um so supervision people open it up and it looks kind of like a big meter and it is but you could actually have 18 different meter types directly within your cubase so if i wanted to look at level at this point we could choose to level kind of the mix down file what the stereo buss is or if we wanted to just do what's in the left channel the right versus mid like the middle part of the panning spectrum or the sides so you could choose different points you could also just say i wanted this to be let's say my stereo bus and there's a little settings cog wheel that you could open up for each of the different meters so if we wanted to you could say i wanted to just do scale meters or track colors uh you know what type of meter so whether it's going to be a din ebu british cat system 20 14 12 if you want to plus six db digital plus 12 db digital you could do that um so you could also choose you know if you want to be peak max rms so and then you'll have kind of similar choices for if you want to have like a loudness meter so if you wanted to come here this would be your overall loudness um you could have spectrum curves and what's kind of cool about this is as you hover over it'll kind of indicate the frequencies like a spectrum bar and you could customize these where i want to be three bands per octave or up to 24 bands per octave just by right-clicking at any time you could freeze the meter and right-clicking again you could have it start to go directly to live use there's also kind of a spectrum intensity so you can see where kind of the intense frequencies are it's very nice spectrogram so this is kind of like a real-time spectrogram this is uh one of my blind mastering engineer friends this is how he envisions audio when he hears it so we have our low frequencies followed by our high frequency you see kind of the overtone series there's also kind of us you know if we want to see a chronogram so we could do this as well and as we do this we could also have different coloring schemes for a lot of the different meters as well looking at like our stereo phase scope here we could say i wanted to see dots lines or even an envelope we could have this kind of zoom so you want to just do recording and do screen capture of that you can alright with that you're gonna have panorama so you can see your panning distribution from your left and right channels as well as kind of a multi-paner so this way you could see what frequencies are active and intensity of it kind of like your correlation and a multi-correlation again as you come here you can see the frequency as you hover over uh there's surround ambisonics you have oscilloscopes so you could change kind of the frequency of that or how you want it zoomed we're going to switch the phase of it and let's say a wave scope so you can see a waveform it's very handy with like virtual instruments get an idea they have a wave circle it's kind of interesting and then also just a time meter so but the great thing about this is you know you have up to nine of these meters open at once so like i have kind of a configuration of this and if you want to see some of the other meters so i think there's a lot of people on black friday that purchase just a separate monitor just for supervision just to have that on all the time so that's a quick overview of uh supervision so okay so let's see um all right so we see erickson on his first time in a hangout welcome okay question why is the preview not playing in media bay thanks i hope you and your family are well so generally the media bay is always going to be routed through the control room so if i wanted to go to uh you know my control room here i could just say okay let's take a look at this so you know you could as soon as you click on it if it's set to automatically play so we could just say i'm going to auto play so if you don't if you're doing this and let's say if i'm here as i select it's not going to play so this has to be turned on but as i just kind of click here and go up and down it'll just automatically preview so but make sure that you also have when you get to your audio connections that if you have the outputs here like i have my stereo out but i have it not connected and i route the audio out directly through my control room so if my control room was disabled and my outputs were enabled here it wouldn't i wouldn't hear the preview but again just you know kind of do the opposite of this so have the output defined and go to your control room and define your monitoring source and then you should be able to just have all the previews just handled just that easily okay okay so uh hi greg uh he's from sub 403 not sure if he got me email about the cycle marker so i haven't found a solution so i think we'll be going through some of the emails later but if you want to ask uh again real quick we could do it a bit earlier if you want okay so uh question what's your best advice on making a basic mix sound sync um so i'm not sure uh you know you know a basic mix sound sync what you mean by sync or if that's a typo so you know what you know some advice that i would give people or mistakes that i often see from people are you know sometimes you know because you have every a large collection of plug-ins doesn't mean that you have to use them so i think sometimes people will over-process stuff with plug-ins and they kind of end up fighting themselves you know when you have like four different dynamic stages on a particular track you know it's you know that often the extra processing tends to kind of work against it it works at work against yourself and you know i was just talking uh last week or the week before with uh elliot shiner he's probably one of the most highly regarded mixing engineers in the world and you know the first time i talked to him years ago i went to set up his nuendo system for him his house and he was gracious enough and just incredibly kind and humble person for his abilities and you know i was so i just was picking his brain over dinner and i was just like oh what reverb do you use you know how do you approach that and he's like yeah i don't like reverb i don't use it you know and i was like what you know just like and he you know what he does is it's just kind of very simple and he monitors very low volume like you know almost like a whisper and you know he monitors very low so he's kind of very actively listening and he's like you know he's a big proponent of yamaha ns10s and you know he's just like you know it's like i want my mixes to sound good on speakers that aren't that great and i want my mixes to sound great on not great speakers uh and he monitors very low so like room treatments aren't as critical so those are some things you know look out for you know there's a lot of low end that can accumulate in the mix as well so you know you could do a lot of kind of uh high-pass filters on tracks you know and that goes for reverbs as well so kind of cutting out a lot of low end kind of mud and you know unclarity can make a big difference as well but if i misunderstanding questions just let me know uh margaret margaret okay okay so i just see uh from uno memento are there any other peers here who've been on the cubase trip since 1989 i'm 60 years old still involved still learning everything so i've been involved since about 91 so so but yeah it's been an incredible uh incredible time okay so a question from ziggy uh can you map sampler track to be played only with white keys so generally the sampler track is you know gonna i don't know of a function to so say if i wanted to take you know a particular sample so i'll drag that into the sampler track here um so it's going to be set to where it's going to be monophonic uh you know where it's going to only play back you know because you know working on you know different parts you know so if it's kind of more of a you know tonal you know like a tonally based thing you'd probably want to have all you know white and black keys so you know but there i don't know of a function that just limits it to only white keys for a particular function so it's going to kind of map it out chromatically by default all right so good to see paul the guitarist from lynchburg virginia on a hangout okay all right good to see ambie and dave on a hangout okay so we have a question i have a bass progression can i have a chord track to follow the bass changes um okay so uh so i'm not sure if it's so let's say a bass progression can i make a cor chord track to follow the bass changes so you know if you have a bass part so let's see if i could just let's say if i just wanted to listen to so you know if it's set to midi you know at this point you could have you know the midi automatically kind of follow so if i go to say g and let's say i want to go to b so this will automatically follow that now if it was a real bass part so let's say if i wanted like an audio bass part uh let's go back to this song so let's say we'll activate this so let's say i just wanted my uh basin drums here so let's say i'll just have i'll mute the guitars for now so if i wanted to come here we have to do like a very audio analysis of the bass part so i'm going to just add some chord track all right so what i want to do is i'm just going to tell the base uh to follow the chord track and we'll just say okay let's do so now what we want to do is just go to chords on the bass part and we'll just say follow root notes so as we come right over here so at this point i could just say okay let's just drop in a couple of chord changes let's say let's make this a and let's do an e so now the audio baseline will now so in that way once you have the chord track you could have the track follow the chords so you could do that for kind of audio or for midi parts for bass so okay so we have a question um okay uh is there an option to always open drum editor when editing drum midi tracks so if it is assigned to a drum map so let's say if i have um this particular part and it's a drum part and i double click and it's not actually it's going to open up like our midi key editor so if we come here and say create drum map so if i have a drum map loaded and this could be just a quick general midi drum map we can now just double click and that will automatically launch the drum editor so once a drum map is assigned to it you could do that and there's a preference to turn that off so i think if we just go to editing under midi um so or maybe it's just so under editors you'll see use drum editor when drum map is assigned so if if that is checked which is which it is by default as soon as a drum map is uh defined at that point you could just double click and that will launch uh the dedicated drum editor as opposed to the key editor okay okay so question is it possible to play sample chops and sample track using only white keys so let's say if we have a sampler track and let's say we just have a quick loop so when we do this and we do the slice um so at this point you know it's gonna be chromatic as opposed to just being on white keys but this will as we do the slices for the drum loop it will just map it chromatically um and it can make editing a lot easier i know sometimes if you want to play back but you could you know just kind of figure out the particular uh you know what key it's hitting but there isn't a map to white keys only function but i'll make sure i'll pass that along as a some user input and feedback so all right so we see jvi is sending greetings from lockdown amsterdam so okay and some people thanking yon for his cubase index.com site that's where you could search for topics that are have been covered in hangouts it's a searchable website for that thank you for doing that yawn all right sorry let me turn off my phone sorry about that okay so is there's a question is there a waveform match in cubase for group editing that functions like the waveform match feature in the montage in wavelab 10 so i'm not sure if you are looking to you know like where we see one part uh so let's say if i come here to i'll just switch this to let's say definition so let's say if i have like my audio warp here and i wanted to look at these two events that we could kind of come over here i'll just let me just try a different project i think i may have so i'm not sure if it's just for kind of visual editing what you want to do but let's say if i'm here so i thought it was just here where you could see kind of uh like both events and i think i'm one mouse click away from happiness here let's just see if i could but there is kind of a way i thought it was if we turned this on that you could show all selected audio events and then just kind of toggle back and forth between them so let's say uh but i thought it was usually kind of right here where you could see i'm probably just having a brain cramp but where you could select kind of like your kick and and see kind of both events kind of overlapping each other for kind of editing as a reference point but i'm forgetting let me just see if it's uh it is maybe a different tab but anyway so i think you could do it just kind of by clicking here on the show all selected events i just try i may have some preference that's overwriting it but you know try clicking there and that way you could see multiple parts together all right so i've seen michael teams wanting everyone to whack the like button all right all right so we have the tuba guys on showing up a little late you don't have to worry about it if you're late uh so we have a question is it possible to print render in place just the effects channel so it's not that you could uh do you know because the effects channel doesn't have any audio if you wanted to do it you know do it so it's going to be kind of printed through something so but let's say if i wanted to take this audio here and let's say i'll just add a effects channel track so yeah i want to add like a reverb to all of these so i will just add let's say a reference reverb to all the drum parts so all right so say if i have let's put like just a big bigger reverb on it so if i wanted to take just that reverb independently what you can do is because it's kind of contingent on sources feeding it but if you do an export audio mix down at this point you could just say okay i just wanted to render just the reference and we'll import it you know into the project so we'll create an audio track of that let's add it to the queues and now we'll just come right over here and as we go to kind of the very probably the very bottom of the project here so we can see the reverence and this is just the reverb that's been been rendered so if you want to do something clever like okay i wanted to take that printed reverb so well it's not a render in place function you know we can think of a render place is taking the actual event that exists and rendering that with effects but since you know there's it's only processing audio but you know that's why it's kind of handled a bit differently but if i wanted to do something like okay let's just take this um and i'll go to my processes under audio and i just want to do like a quick uh reverse reverb so at that point we could just play this and as we wanted to play so so that's how you can kind of render your effects channels okay okay so we have a question from the tuba guy um okay i try to mute tracks in my mix but not in the cue sense is there a way is there a way to go context i have a huge custom click track someone uh someone and i don't want it in my mix mute button does on mix and q so let's go ahead and let's say if i mute this particular track so let's say if i wanted to have a click track that's rendered for this particular so i will just go to my signature track and let's come right over here and i'll just render so now we're gonna have like our click track all right so say so let's say if i wanted the click track to kind of go out of its own bus so all right so let me just uh so it says i want custom click track someone i don't want it in my mix mute button does on mix and q so what i would do is you know if you don't want it in the main mix is if it's rendered out just send it to no bus and then you could still have this click track in your headphone mix so as soon as we kind of come say let's say we put in our first headphone mix we can now listen to it in a headphone mix but when we listen to our main mix it's not being routed out but if i wanted to take you know all the different tracks you know you could have it being sent to the qmix that track being sent to the qmix without it being in the main mix so try just to select that track you know send it to the qmix like you're doing uh but just in the output stage just send it to no bus so and then you could hear it here but it's not going to be in the main mix so give that a try the tuba guy all right okay so uh says uh question i'm running contacts or my chat field my chat field just jumped on me so i apologize for that occasionally i may lose questions uh in this transition but i think we're okay so apologize if i lose any questions as a result of kind of the the chat area live chat field jumping okay uh hi greg my name is also okay i'm running contact inside cubase would you touch on programming instrument articulations so with this you know you're going to find a lot of these articulations kind of available online so let's say if i wanted to go to uh you know we could go to what we call expression map setup and at this point you could just kind of you know click on okay we want to make a new expression map so you know we we could just say okay we're gonna have slot one and this will do you know different key switches and we'll we'll just open up a quick expression map here just so you can get a sense of what one is doing you know and many times these are kind of all you know have been kind of pre-done for you so let's say i want to do uh my violins here so i'll just kind of add this so now we'll have sorry for hitting my mic okay so um so we want to look at the expression maps at this point you know it's always good to open up some of the instruments that will have it and so i'm just gonna double click here and let's say in the midi editor part so you could go to your expression map and if it's like a halligan based instrument uh which you know you could automatically import the key switches so at this point you could choose you know the particular instrument you could give it a name so we'll just call this like violin 2 standard and you could see some of the different take my caps lock off so don't annoy everyone so at this point you can say this remote key switch or this you know midi cc is going to automatically switch between you know the different sustained legato tremolo mercado pizzicato so at this point you could you know just type in the midi note or the midi message you could have different colors uh you know and different articulations so these are in different midi channels for each of the different functions you could kind of have that set up so but you know check i think probably for most of the contact libraries that's you know those expression maps are kind of freely floating around and most people share them pretty you know generously so you know check that out if you know but you could just kind of you know set what midi message and which particular function is needs to be triggered uh in the expression map setup there okay are you just reading through some more questions okay so it says uh thank you greg for the great answers wondering if it's possible to drag some midi part to audio track on and get render with current settings so you know you could just you know if we have like a midi part i'll just switch to a different project here and thank you for all the great questions so far i hope everyone's learning something if you've learned something new make sure you hit the like button and if you haven't subscribed to the channel make sure you do that so you know if you wanted to once you have kind of the render in place kind of set up you could just have you know the render with current settings so you could just you know once you have the settings configured as you you know you say okay i wanted to do this and this i wanted to always mute i wanted to you know mute the source events or replace them whatever you want you know you could hit a key command to fire that off so you don't really have to you know necessarily just kind of drag um what some people will do also if you wanted to convert audio to midi is just kind of take like a midi part that's routed to virtual instrument another easy way of doing is just drag it into like a sampler track so once you drag it into a sampler track that's going to render it as an audio file and this will show up in your pool window so say we go to your media to your pool window uh and then you'll see it under sampler track and then you could just drag it out but i don't think that really gets you much more of a benefit than just you know having a keyboard shortcut assigned for render in place so but if you really needed to drag you could drag it into a sampler track but i don't think that's going to carry over all the effects and processing all right so we're just seeing other people sharing you see that neurotic nexus has been on since cubase audio times been running cubase that long it's great it's a lot of fun when that is coming out okay so i just see from michael teens greg do a new project drag in some vsts jumping from 6.5 okay so let's just do like a new project so say if i wanted to start off with a virtual instrument um we could just go to your media go to vst instruments so if i say okay i want retro log uh i could just drag and that's gonna load up you know retrolog let's say okay i wanted this to be pad shop so just drag that will do so that's how you can do it for virtual instruments if i add it some audio tracks um and i wanted to do this you know if i wanted to make an effect send all i'd have to do is say okay i want to go to my reverb plug-in and i wanted you know revelation as an available effects end just drag it to its own track if i wanted to take a plug-in to a particular you know let's say okay i want the vst amp rack on this particular track you could drag it and you see where the line will go kind of in the middle of the track the green line and that will just drop it as an insert on that particular track or you could just drag and drop to particular insert slots if you wanted to create an effects channel track or be able to just drop it in the middle of a track and that will add it as an insert so that's some of the kind of drag and drop functionality that you could do so okay so hello greg why does cubase crash every time i open rewire plug-in uh using catalina os so you know rewires kind of you know i'm not sure if that's catalina compatible yet you know so a lot of this stuff when you're using rewire you know it's kind of i think even a propeller heads have finally realized that you know maybe it's better just to have it as a vst instrument and works a lot better so make sure that you know you could have you know there are multiple generations of rewire plug-ins so there's a 32-bit and that's not going to work in catalina because it's 64-bit only make sure that you had the 64-bit version of rewire and it may have been updated for catalina because there's a lot of changes required for catalina with no 32-bit uh compatibility anymore so that's probably why it's causing a crash so it's not so much that it's um i don't think so much of a cubase issue but you know rewire is kind of a bit you know late 90s kind of technology that's kind of really um not been as you know supported and updated you know took them a long long time to get to 64-bit so you know so i my inclination would be that it's going to be you know probably need to update your rewired driver or your old rewired driver was installed and that could be causing issues too okay so we have a question um not sure if you've answered streaming questions can you feed daw out into obs stream software without using the loopback function on most interfaces you know there's some software settings that will allow you to do that you know i think that there's like a little software tool like on windows that people use called voicemeeter i think there's like a hijack or something like that that people use on mac what i do like for this stream and all you know i've done since pandemic you know probably two or three hundred like online demos and hangouts and presentations um so uh how i kind of take my obs set up is i have one audio interface for cubase and then when i'm in obs um i have you know this is my computer display and for the audio and obs i just have a separate audio interface and it's a yamaha mixer with a usb output and so i used it i used one audio interface for cubase and one for obs so that they're kind of separate streams so you could do loopback and you know but sometimes it could be a little tricky depending on some different scenarios so in so i take the audio output of my audio interface and my microphone into the yamaha mixer and then i use that for the streaming and that way i could switch sample rates i can mute when i need the cough you know so it makes it much easier for the operator you know not to have to worry about as many things and they stay pretty clean of each other so that's how i do my streaming setup um so as you see from neurotic nexus who else is also into the uh slowed down music uh and i'm wondering excuse me if cubase's algorithms are the best on the market so i think that they're quite good for time stretching for doing pretty extreme stretching you know if you have wavelab you know there's a dirac time compression algorithm in there that's also very very good and and arguably that might be like the best time stretching algorithm available so some people will do you know all their mixing cubase and just use you know wavelab for you know i know you know some mastering engineers really love like you know the internal dithering like you know the type 2 dithering plug-in in wavelab uh and they'll also use you know wavelab just i know people use it just for time stretching with dyrac algorithm so um but you know what you get in cubase is also very good so and seeing ambient dave's also recommending to jeremy about streaming the restream plug-in so okay and i'm just seeing from tanmay says yes rewire has some issues in catalina so okay so we have um all right so you see from paul the guitarist quick question do you have an idea when the cc 121 might be available again through the steinberg site thanks uh appreciate the hangouts yeah so we've been back ordered you know the cc 121 is a you know it's a great little controller that's um you know made in conjunction with yamaha so yamaha does the manufacturing of that particular controller so you know during the pandemic uh you know they and yamaha is like really good at you know just the supply side economics of productions and you know they look at how many are selling per month and then all of a sudden you know they allocate parts and inventory of different parts to match you know to optimize the production run so we don't have you know excess inventory and then when the pandemic hit um you know we probably sold you know 10 work 10 years worth of cc 121s in six weeks so they're still trying to catch up on some components so i'm not sure when um i may hear like after the first of the year uh what the latest update is on kind of hardware production runs um but you know the factories are trying to run you know also for a lot of the companies you know some some of the components manufacturing there was a fire at one of the plants for a lot of components i don't think that involves the cc 121 but that's another you know kind of unforeseen issue too so i think we you know we might see it back back in stock um kind of early next year so okay so i'll just kind of read through okay so we have a question from tanmay i meant to look this up but let's see if we could figure out real quick what does uh the indicate transposition and key editor do so let's take a look see if we could i know we touched in this i think two hangouts ago so let's take a so okay so i'll do so my 21st century composition here with my paint tool okay all right so i'm gonna transpose these up okay so we have those notes that are transposed up and let's go to the settings cogwheel here so we see the independ indicate transposition that can be turned on here and let's see if that's maybe the reason if we do at the end here let's say if we do maybe a transpose track so i'm not sure if it's for um let me just for like maybe different instruments that have orchestral transposition so let me just see if it's with that so say if i go into the score editor and let's say we'll just do for b-flat trumpet okay so we'll just have our orchestral transposition there where it's gonna sound the correct note so and i'll try one more transposition thing so let's say all right so it's not with like orchestral transposition let's see if it's like a midi modifier transposition yeah so i don't know i'll do some more if you want to send me uh an email man uh tammy i'll i'll do some more research on that so but it's not as obvious so sorry i meant to do some research on that then i had to make lunch for my son okay so i just see from uh i also have an issue question i have an issue when trying to open a new project outside cubase hub it's really annoying using artist 9.5 and catalina os um so i'm not sure what the particular function is but you know if it's to deal with a uh like you know if it's something like okay we're gonna go to documents and you know if you go to projects so let's say if i'm here and if you're opening it up directly from here you may just choose to open with uh the particular you know version so you may want to just you know define that there if it's double clicking is opening in the wrong version but also you know be aware that cubase 9.5 really isn't designed for catalina because that came out two years before catalina so i think you would need version 10.5 for it to be compatible so a lot of your stuff may be working but you know the officially supported version for catalina is is 10-5 i think 1002 might might work as well but i think 9.5 was prior to catalina so just beware of that okay just all right reading through thanks for all the great questions okay okay so i just see uh from tanmay according to all what's the most underrated cubase stock plug-in um one that a lot of people i'll i'll share some that people miss um you know like let's take a you know so some of them that i think you know for delays the multi-tap delay can kind of do everything you'd ever want and more uh under dynamics you know check out like the multi-band envelope shaper and the envelope shaper for doing like adsr type you know for adding more punch to drums but don't limit it to drums under distortion you know magneto is still one of the best analog tape simulations on the market check out you know the uh for like really you know edm type functions the loot mash fx for being able to play stutters and drops is pretty amazing the you know the convolution reverb reverence you know make sure you go beyond la studio and check out a lot of the other impulses you know but there's you know the new squasher is also pretty phenomenal for uh like a multi-band up down compressor as well so you know but there's you know i don't think there's any real duds in the included plug-ins as well where we see more and more people kind of gravitating to the on you know built-in plug-ins uh so i see hello greg uh do you know where i could find a video about vst system link for syncing two pcs into cubases um so i don't know you know it hasn't been a feature that's been you know it's probably been a feature that's a bit underutilized and sometimes when you're doing like a youtube video a tutorial video you know doing something that goes between two different computers is could be a little trickier to do than normal kind of typical screen capturing um i might have a little bit of free time over the holidays and i'll see if i can maybe try to work on a vst system link but i don't know of any off the top of my head so okay yeah and also another plug-in that is a great thing to check out under distortion is going to be the quadraphus 2. so if you wanted to look at this you know it's a multi-band uh distortion where you have five different distortion types and even a delay so that's a pretty scary plug-in as well that's kind of underutilized for distortion and also like the vst amp rack and vst base amp they're a secret weapon in a lot of people's arsenals it's good to see that uh gareth's favorite chord is the uh flattened fifth chord we just wanted to make it a little more dissonant on friday in case you're having too much christmas music with modulations and stuff my my son can figure out uh you can hear his modulations and songs so every time we were listening to christmas music he has to yell modulation which happens in every christmas song of someone singing so but if you wanted to change that we could go to i should probably change it my preferences under my chord track so gareth is pretty clever at paying attention so when i was just putting in my chords for the chord track uh i think it's defaulting to like a flat fifth so if i just wanted to come here i could just remove that so all right so we should be good there so with no more flat fifth chords you okay be able to hear my son uh sorry to see from tanmay greg did you look into my screen record pop swish issue so you know i i haven't been able to recreate that on my end so um so i've kind of played around with it a lot you know we've been in touch but i've been able to recreate it and my son's knocking on door i think his school is done for christmas break hang on just one second okay sorry for the interruption okay let's take a look okay so just seeing other people's reading through other people's uh suggestion um of plugins that they like so we're also seeing groove agent multi-tap delay all right so we see joseph swenson finally hooked up live with the hangout so welcome to the hangout okay okay so let's see um greg why does multi-band compressor and frequency 2 give out noise when ideal or maybe idle so let's come over here and just do a new project and i'll just add a number of audio tracks here and let's get to the mix console and i'll just do the multi-band compressor okay so let's see so we have the multiband compressor and frequency two so let's go ahead and take a look at those so i'll turn it on and i'll just go ahead and put on like some presets here okay so now we have these plug-ins we're not seeing any signal uh on the bus and i'll just go ahead and put in a analyzer so let's put supervision so it doesn't look like those plugins are causing any noise and nothing is registering and we could do this on the stereo bus let's do it on the mix down so um i'll look at it in i'll put it in a control room as well let's see if there's any noise that's being registered here so i don't see any signal indicated with those plug-ins turned on so let's come put it on the main and switch to our inserts so if we go to supervision here so i just had a little let me kind of turn the plug-in on but you know i think this will fade away so it doesn't look like those plug-ins are causing you know it could be you know if you have other plug-ins that are feeding into that like you know you know like if you have a master effects chain that has you know six or seven plug-ins that could be causing the noise but i don't see those plugins generating any noise so okay so okay so question do you know whether there is some beta version of cubase usable on mac with m1 processor um so i i'm not sure what the current status you know i've seen some people that are running it under rosetta you know but it's you know ideally you know they're working on it but you know um but it's a big undertaking you know it's a big it's a big project to work on for a whole new processor so you know so i'm not sure when we'll expect i'll see if i can get some more information i may not get it until because of holidays coming up there's a lot of people you know not in the office but it's you know you could also contact apple and see why you know their new processor is incompatible with everything so make sure you reach out to them as well okay so um so tanmay wants more people to hit the like button so okay so i just see question uh about supervision um which i like it is a bit cumbersome to get the meters in horizontal position to switch uh in my opinion i only can do it by resizing so you know when you're doing this you know it's not necessarily that it is uh you know each one could be kind of you know slightly different in how it's doing so you know you could resize it but it's really kind of intended you know where it's user definable in size so that you know when you're using multiple meters together that you could kind of pick and choose you know their alignment and their size you know custom fit so with you know more flexibility can sometimes come more complexity so but you know it's not you know some people would look at a face scope and they may want it to be more horizontal or more vertical some people want their meters you know horizontal or vertical so we don't necessarily assume a particular orientation for you but once you have it set up you know you could also just save a preset you know and be able to kind of you know go back and forth between it so it shouldn't be that hard just to kind of work you know set up different preset configurations for you and your setup with supervision so all right so just see a quick question from lewis has anyone had issues with exporting an mp4 from cubase 11 and then the video file has a bright green line at the top you know it could be depending on what uh kodak was originally kind of inputted that sometimes i've heard of those things kind of showing up but i haven't no see if anyone else has experienced it all right so saying um you know some different discussion on if cubase 11 is good with m1 or is it big sur so you know cubase 11 works for works great with big sur many plug-ins and third-party components and audio interface drivers don't so you know there's a lot of other contingencies but you know cubase is working great on big sur so okay reading through different comments here um so question does cubase have instagram account i believe that steinberg does so you may find it under steinberg uh i'm i don't really do instagram myself personally but i know that they have like a twitter and instagram and uh they've done instagram campaigns before as well as like you know facebook and other social media platforms okay so i just see from neurotic nexus need help i use spectral layers one with an audio event in cubase 11 unmixed vocals and dragged both tracks afterwards into the project now i want to remove spectral errors from the reference reference event but can't so let's take a look okay so i'll just go to my extensions here and let's take this particular file and let me just check my control room okay so let's take this and i will just do my spectral layers and i'll unmix it okay so let's get to layer and we'll unmix stems and if you had spectral errors one that comes with cubase 11 or nuendo 11 you could just unmix the vocals all right so you can watch the progress up here okay so if you haven't seen this before it's pretty voodoo like so let's say if we take so i could just kind of take this two-track mix here and just isolate the vocals so let's say if i want to drag the vocal file out to the project window okay so now let's say if i just want to come here let's click on like the original file and just click on remove event and now let's say so i think it's usually kind of just a remove event i know what some people have done but i think that's really kind of the intention is let me see if i can select both of these and choose to remove event so if i if you select both of them and click on remove event then you could just go right back to where you were and go directly to the sample editor just for the vocal so give that a try so just try to remove event okay okay so we have a question can you route media bay through other outputs so the media bay will go through the control room so if you wanted to route your control room and the audio connections to different outputs you could just kind of have it directly set here so in your monitor setups if you want to have kind of an alternate monitor set up for auditioning different of you know loops or sounds you could just switch to a different monitor configuration so you could just say okay i wanted to just go to different monitors and each of these monitors could be routed to different outputs okay all right so um so question i know it's not a specific cubase question but can i make the most basic soundtrack using cubase 11 like how to start new to soundtracks here tips and tricks are welcome thanks greg so you know if you're just kind of starting off yeah you could definitely do you know if it cubase 11 you know will work for you know the han zimmers and benjamin wallfish and harry gregson williams and you know pnr toprox and uh alan sivestri it'll probably work if you're starting off so you know if i wanted to come here so say i'll do a new project and i just wanted to you know if i was starting off i could add a video track so let me just import a quick video file i'm sorry i use the same video file all the time for those that watch the hangouts a lot so let's say i wanted to hit f8 and this will open up my video window you know so at this point you know if you wanted to do tempo mapping you know you could say okay this is where we want our downbeat and i wanted to have a q go to right here and i wanted this to be 11 perfect measures not 11.3 uh so i want just to be 12 measures so at this point you could actually just come and use the time warp tool and you could say you know measure 12 should go right here and that will just do different tempo changes for you so you can say okay i need you know measure 17 to end up here you know and you could do different tempo assignments you know so if you had to do like if you're just starting off and like i have to have one sound it's just you know you know like i hit one note and i could get something sound tracky i would go to pad shop so there's like all sorts of pretty amazing evolving sounds in there um i think i just got one of the new patch up expansions so like you know if you wanted to go through uh the evo elysium so let's just pick one randomly here you know so you have these sounds that kind of just evolve you know and i'll just go through a couple so this is just hitting kind of one note so let's say okay i want to play film composer i'm not a composer at all and i have tremendous respect for composers but just i'll just come here and just say okay i want to take this in you know i'll just take this out of loop record so let's just say i wanted to come right here so say i'll just put this into i'll take the loop out so i have my video and i want this to so let's say okay that's going to be our little soundtrack so now i can play back in but if i wanted a note to happen like specifically at a particular moment in time what you could do is place this into the transport and go to use video follows edit use so just enable in the transport use video follows edit modes and now you could just move the events and as you move like a midi note here so i could just move that one particular note so it's coming right at the very beginning so let's say if i wanted to get this note right at the start of a scene change right where that we see the subway there where the u-bond in hamburg so let's say now this note needs to start right when we switch so you could just kind of change kind of you know the timing of notes to hit different visual cues as well and depending on like you know what the sound does i'll just take it out of loop mode sorry so let's say if i wanted to get like uh maybe something so we could have these will change kind of with tempo but you may want a particular part that doesn't change with tempo so let's say if i wanted to come over here let's do just like maybe a quick percussion sound so i'll go to iconica and let's just find maybe like quick symbols so let's say i wanted that kind of gong sound i think there will be a cloud here that comes up so let's say as we were watching say right where that cloud comes in so i'm just going to come here and let's place this into record all right so now what you could do is so we'll have this like little gone sound come in and i'm just going to move that so say and i wanted that to come again directly at the same time as when the cloud goes in now sometimes you may have parts that you know we talked about this a little earlier uh some events that may you know show up kind of you know before or out you know where you don't want them to follow tempo changes so let's say we do this and now where that cloud comes in we'll hear a little gong come in kind of right here at time so once we kind of have you know those times if i wanted to now change the tempo you know but i wanted that event to always occur at this time we could just come here and place this into linear mode and as my tempo changes that sound would always come at the same point where that cloud kind of goes through so it's kind of it may not be probably a little subtle but you could do stuff like that kind of all day long so you could do you know so cubase is a wonderful tool for film composition okay um so we have a question hi greg how do you prevent a selected sample from playing again when you focus on the track editor and play the track so let's say um i'll just switch to more of a musical example here okay so um all right so how do you prevent a selected sample from playing again when you focus on the track editor and play the track um so i'm not sure if it's a sample um if it's a sample that's being triggered just from uh joseph swenson if this if it's a sample that's being triggered from okay so like if you have you know let's say a sample so it could be like you know while you while you're in the editor let's say if we're doing this um okay so let's say um so when you so if it's like in the middle of let's say if it's just like one long note here so i'm not sure if so i'll just go ahead let's say i delete this if this is kind of so say if i come here and then i play again from the middle and this note will sound like even though it's starting here i could be misunderstanding this but if you wanted the sample to only start to where it was triggered you could go to the preferences and i think it's under editing uh midi probably um let me just so there is a um just where it will basically just kind of look for uh like for midi playback you know where it will go back and re-trigger the notes just just blanking where this is right now let me just maybe just under midi um so you know it could be like just the uh reset uh chase events here just as well i was thinking of so under midi chase events notes so i'm not sure if it's a sample that's being triggered from a note message like a midi note message or just an audio file so if you could let me know um you know joseph that would let me know um so let's see how i know it's a weird question but how to sound like hand zimmer so there's probably millions of people trying to figure that out um i can tell you that hands is incredibly dedicated uh and he works really really hard at what he does to do something you know you know his effort is a small reflection you know he puts a tremendous amount of effort into into his work uh and he's incredibly dedicated to that and kind of has the highest standards um so that helps but you know he's always you know thinking about you know i think you could watch a lot on i think he has like one of the you know learned from the masters classes but to me it's always incredibly inspiring hanging out with him and just you know just because you you talk about such interesting ideas not necessarily mechanics of things but you know concepts and ideas but you know um he's he's gifted he's incredibly gifted and you know one of the great composers of all time okay reading through different comments here and also yeah michael team says you know hands has huge amount of tracks in the 700s um so you know probably you know probably the biggest template that i've seen it might be danny lux um i think he's at like 4 000 plus tracks for his template uh you know tom hulkenberg junkie xl i think he last time i was in the studio he was about 3 200 or so so they have a lot of tools in their arsenal and but they you know all those guys spend a lot of time very dedicated to you know finding the right sounds and organizing their workflow okay so okay so you see adele it's time to give this video a like thank you um yeah so just seeing comment from gareth so composer can have various orchestral synth sections saved as a single preset and a track preset pane so a lot of the composers will and this is probably more of the hand school where he will have like you know huge templates so all of his sounds that he knows that he thinks he can use or kind of organize i think he has kind of like his orchestral part that's pretty constant from project to project that'll be like his writing orchestra and then he will often kind of build fresh sounds for each project as well so they may just kind of tackle project and do sound design and come up with new unique sounds but be able to access those sounds in case there's a sequel where it's like oh you know remember this particular sound you did in sherlock holmes the first one do this you know i want something like that for the second one so but i think you know often they may kind of start with the or you know for each film project they try to do kind of fresh unique sounds as well so but you know templates are composers you know best friends and some composers you know really live and die by their templates um and you know speaking with alan silvestri recently and he just has everything he has different parts saved as track archives and he'll just import a track archive when he needs a particular instrument and he has his track archives very well organized so all right okay just seeing some great discussion i never get to partake in so okay so uh from dr dna i just started cubase please explain the left panel completely uh request briefly all right so the left panel is kind of the inspector so this could have different parameters depending upon which uh if you're on midi tracks or audio tracks or instrument tracks so for audio tracks you know the top one is going to be kind of the you know often the most the one that's defaultedly open so here we could set the level panning you could shift tracks you set your input output you could arm mute solo read write enable automatic crossfades you know show lanes so kind of all these different functions you could have many of these functions here if you go to your track control settings um you could have multiple track versions and we could think of these as like okay i had alternate takes you could save track versions this will be how the particular tracks work with the cord uh how it interacts with the chord tracks you could set the for an audio track the equalizer so you can boost or cut frequencies uh you could add different plugins that are dedicated for inserts that are going to be dedicated to a particular channel and you have this green line indicates whether it's pre or post fader for the processing so you could have send effects if you want to send this to more reverb or to a group you could have the fader so you could have like your faders for automation panning and again a lot of the different parameters and if you hold down like alt um so once you're here you could say you know i want to take this and let's hold down uh control or command so let's say if i have this open um and i want to open up the fader as well so it's we could let me just select it uh i think it's going to be control or command and you could have multiple parameters open so but they'll kind of tuck away you could now come over here okay you could have notes on each track you could have your channel strip settings you could have cue sends for headphone mixes quick control so you know we could do that now if it's for like a virtual instrument channel and you know if you wanted to hide more of these you could right click and just choose to check or uncheck so with instruments again you could you know read write automation record enable monitor track set your midi input output midi channel track versions for kind of parallel versions multiple versions how it responds to chord tracks you could also get into you know for the particular instrument itself so if you want to get into its audio characteristics if it's a vst instrument you could do that and then you'll have its audio inserts sends as well as fader for the audio characteristics you could have expression maps to be able to switch between different articulations you could have different midi effects like arpeggiators that could generate midi data you could have midi modifiers so if you want to transpose you know increase decrease velocity or randomize different functions if you wanted to have midi send so if you want to do an arpeggiator from this track but send the arpeggiator to a different sound source the midi sense will do that you could have the midi fader so if you wanted to write midi cc7 you could do that plus quick controls to control uh different elements within the selected instrument so that's kind of a quick overview of some of the inspector panes for audio and midi tracks okay sorry for hitting my mic okay okay just reading through different comments okay so just see a comment maybe an amazing idea for electronic producers could be a add-on cubase for max for live plug-ins they do amazing plug-ins so okay so see ambient dave i got four thumbs up for the hangout so far so hopefully we'll be able to persev to keep that that up for dave glad to have you back on the hangouts we missed you while you're gone okay okay so gareth is looking for a quick survey of who uses the drum editor regularly uh nice to see comment from uh gareth k music that only works for groove agent and bb maps so i hate it um so no it doesn't it's not limited to that at all if they're referring to the drum editor so okay okay just okay so i just want to check something gareth or joseph had mentioned about so let's say if i wanted to do uh about seeing multiple sources within the same editor so let me see if i'll try a suggestion here okay so i'm going to select the kick and let's say the snare okay so yeah so so thank you joseph for that so if we wanted to so for people who want to do surgery so if we selected both of them and then enter the editor you could now see kind of the kick and snare against each other for editing purposes so and we can see and you can pick which one that you're actually kind of editing so if you want to edit multiple parts uh against each other so thanks for the brain cramp reminder joseph all right all right so um greg can you showcase what reverence can do the most untouched and underrated features so a lot of people you know reverence is a convolution reverb so let's come over here and so a lot of people use this for soundtrack work and kind of orchestral stuff uh just because i'll revert this just because you know what it does it com you know you have convolution reverbs and algorithmic reverbs and convolution reverbs actually kind of use a sample as the basis for the reverb um so instead of trying to artificially recreate an environment the those different environments have been sampled to automatically uh take care of that so we don't have to necessarily worry so so let's say if i wanted to come here so you can get like really you know like really accurate parts for strings or different studios so a lot of people think of this as being like for natural acoustic spaces but you could actually you know look at kind of the spectrogram and information for this so some things that a lot of people miss is that there are i think this came in 10 or 10 500 um there is some really pretty stunning plates in here as well so while a lot of people think it was like a natural acoustic environment you know you could think of it as just for for doing like plate reverb impulses so let's say if we want it also to do it on a particular track uh another thing that reverence can do that a lot of people under utilize let's say if i wanted to come to a drum track here um so let's just go ahead and and i will just come right over here and i'll just add an effect sent to this and we'll add a reverence to groove agent here so let's go ahead and just kind of browse through some of the plates just so you can kind of hear it a little bit so but let's say if i now want to do this you could also do just click on reverse and you could just have a reverse reverb kind of very easy with that so listen to it kind of normal and then let's just reverse that so you know a lot of people underutilize you know i spend i see people like i'm going to print the reverb to its own you know to its own track and then you know do all sorts of like really crazy routing and then reverse it and try to do that when you could actually just click on reverse right here inside of reverence so you know definitely kind of play around and you know find you know you could import any ir file any wav file so there's and there's lots of them kind of floating around online as well so okay yeah so i see gareth is also mentioning some of the classic vintage reverbs are sampled okay so you see from sub 403 is there a way to jump to a cycle marker and have that and have it loop that region or just a different cycle marker and loop that region etc all right so let's say i'll go back let's go back to our classical piece maybe i closed it all right so here we are so let's say if i wanted to set up different markers so say we will create different cycle markers here i'll just reverse this revert it rather all right so i'm going to set up quick cycle markers okay so i'll just put in some different cycle markers like so so i'll just put in a couple of cycle markers sorry i'm gonna turn down the tv my son's watching some disney show with some bad music in it i look probably the composer the disney show is on the hangout all right let's see if i can get the volume turned down remotely here all right so let's put a couple of cycle markers in so if we have just a track that's dedicated to cycle markers let's say if i have this selected and then hit n um let's see if we can all right so there is um you could do this preference where you could say uh let's go to your cubase preferences i think it's under editing project in mix console where you could say uh let me just see if it's under editing okay so you could say uh there's a couple says cycle okay so let's say if we auto select event under cursor okay so if you do that um you know you could just so say if i turned this on i wanted that to loop over and over again you could just hit the letter p and i'll just put it into like a loop here and now if i wanted to click here so you could just hit hit the letter p again and that will cycle you know you could also have one other thing that you could do if you're not wanting to use cycle markers with that so if you select the cycle marker you could then hit the letter p but if you want to use like the range selection tool so i'm not sure in sub403 if it's everything is already kind of done in cycle markers or you just wanted to quickly um so where you say cycle follows range selection so if you wanted to just select that area there you do cycle fall as a range selection so say okay i want let's say just that part and that will loop and if i wanted to go here and just hit one same time i select a range with the range selection tool that'll just put the left and right markers just around that and cycle just that without having to define a cycle marker or you could just select that and hit the letter p and that will automatically cycle around if you have a defined cycle marker already so give that a try okay i have cubase 10.5 pro and i see videos where people right click on an audio file for settings but to me nothing happens when i right click and i have to go to audio tab uh how do i make that work so you could if you go to preferences under tools you could uncheck show toolbox on right click and now you could as you right click you could see a number of different functions that will be set up right here so when you right click you can access your tools plus all of your different functions there so once again go to preferences and uncheck editing tools and uncheck show toolbox on right click and you could also toggle that behavior where you can see your toolbox but if you hold down uh control or command you could just simply you know right click you do that hold down control or command right click and you could have access to all of your extended options as well okay so i see pablo wants more vintage ir for reverence so make sure you've used everyone that's in there already so a lot of people missed the plates that were done so and some of the plates may not be named emt 140 but may sound mysteriously like them okay so we have a question is it possible to record multiple vsti outputs without adding groups and audio track with input from particular group this is really odd in cubase but sometimes i have to create multiple groups you know what a lot of people you know what a lot of people do is you know when they come here they have like a master group channel um and you could have everything kind of you know often directly before this the stereo bus and they'll just come like right here before this stereo bus and have just like a master group channel so if you wanted to come here we could say okay i wanted to let's add a group track and we could just call this you know let me excuse me all right so let's just call this a record bus and and you could have you know all your other tracks going to you know let's say different groups here so let's say we have this these are going to you know a group channel let's say you have your virtual instruments you know but then really all you have to do is take you know all the instruments at one time and you know you could go into even the send and just say okay i wanted to take all of these tracks hold down alt or option plus shift and let's send them all to the record bus uh and then once you have that group kind of set up just add an audio track and you could send that output from the record bus so a lot of people i know will have kind of a record bus set up so that they could print they don't have to do it you know every single time and instead of doing it on the main output just do it through sends here uh and you can do that pretty quickly um but you could also just you know there's a couple ways to to skin the cat per se you know if you have many virtual instruments you could select your virtual instruments tracks and just do you know just come over here and go to your edit menu and do a render in place and choose to mix down so you can say okay i want to take all these and mix it down to one stereo file you could do that and you could remove mute disable you know once you have um you know those tracks selected so you know or you could choose to export audio mix down so let's come here and you could take all of your virtual instruments and do uh your export audio mix down and have your virtual instruments all rendered down to one stereo file if you wanted to as well so so different things that you could do so you could say i only wanted to take you know my different tracks here i could you know solo mute them whatever you need to so there's several different ways to get it done okay say hi greg best way to uh extend uh the last note of guitar solo time stretch or direct offline processing excuse me let me just sorry the throat's a little dry today um so you know we when you do a direct offline processing it's going to be kind of same thing let's see i think i have a solo let's see if it needs to be extended in this project you know a lot of people will put a delay on it that's kind of an old trick you know pre-daw days but let's say i think this is maybe our guitar solo here so let's say if i just wanted to you know come here let's say we'll just listen to the end of this you know so if you wanted to you know just kind of cut here um it's probably not the best example for that but you could just you know come right here and just say sizing applies time stretch you know just to the very last note and just kind of drag that out so if we're going to listen to that in context so so you could do stuff like that but you know you could time stretch it or you know whether you do it on a project window or doing it in direct offline processing you know if i wanted to take that and just put a delay on it you know i could just go to my plugins here say okay let's just put a a mono delay on it so i'll just do a new version and let's make it like and you could extend the tail but you know so you could you know just do it either way um so a lot of people do you know delays were kind of the classic trick when you know the guitar player didn't have enough sustain or whatever you wanted to do but you could just you know as you work on you know just taking that one little part and you know dragging it out you know and if it's just one particular note let's just you just kind of resize the event so depending you know and edit it we're musically appropriate so but either way you know the if you do that you can get you know different um you know different different solutions there okay so say hi greg can i change edits without changing edited other material in other words is there a way to lock all edits except the one i want to change move thank you uh so it depends on you know if it's going to be you know you know the if you're doing like edits for like you know cutting and you know performing kind of different edits here or it's like okay i moved you know this and i'm you know i wanted to switch these around and you know do stuff like that and you know this will all be in your undo history so you could do that and if we wanted to you know just come here so that's going to be kind of global but if you do edits like in the form of processing through the direct offline process history like where we're just at by opening up by you know hitting f7 uh and you wanted to you know apply you know like plug-ins and processes and let's say i just wanted to you know fade out i wanted to time stretch you know so at this point we could just say uh you know once we have done this let's say okay i need this to be you know time stretch so if you've done kind of your processing here you can say oh i just want to get rid of the fade out i could remove that independently for my offline processes um at any time but there isn't a way so we could lock these in if you wanted to but if it's going to be like more like project window editing of moving and slipping events there's no way to really just kind of isolate that particular one so you could do it linearly okay all right i think my timeline just jumped on me so all right so i may have lost some questions and just kind of rolling back okay so i may have lost a couple questions i apologize for that uh so i just see a question from neurotic nexus i don't want it to have names or events but once i cut events i find it difficult to see where an event is cut anyway to make it more visible um okay so let's say if we have like this guitar solo here and if we've cut you know the event so you could see the name kind of indicated during the cut um so okay so let's say i have names uh i don't want it to have names on events but now but now once i cut events i find it difficult to see where an event is cut anyway to make it more visible so let me just turn off snap because we make it kind of mixed up with the grid so you know sometimes they tried like as you look at it here you could see kind of where the edits are you know by this little white line sometimes you know it could be there's always kind of a fine line of like as you hover over something that it may reveal more information um you say like you can see like you know that you don't see fade handles on everything because that could be a bit distracting but as you hover over a particular event that those fade handles will become visible you know you could like even if you're here one thing that may help is that you've seen some people do is under editing is to you know select events under the cursor so let's say if i have that selected and it's i'm on this particular channel that you could so you look at the guitar solo you know so you could have you know and as the cursor is over an event you see it turns it's selected so i know some people will enable that preference for like editing situations like that so they could see exactly where cuts are so maybe if that makes sense give that try under editing auto select events under cursor and that will only show up for tracks that are selected so if i have this track selected here and that's turned on so you know so that's maybe something you could do okay so uh how to set expression map for hallie and six iconica ensembles i cannot see it set it in inspector so let's go ahead take a quick look so one of the great things with you know uh i'll show you in um we'll do it in halloween six as well just so it's consistent okay so say we'll do our brass full ensemble here and now all right so we have a couple of articulations here so all you have to do is um so let's say if we have you know our event here so let's say you go into like the editor page you'll see expression maps so you may have to have an event in your project then go to expression map and then you could just choose to import key switches and that will automatically import the key switches for that particular instrument in hallian so now so that's all you have to do so make sure that you know you may have to have an actual event selected so it's not track based but it's going to be on the part based to trigger the editor so when i come right over here i double click we'll see the parameter uh you know the inspector change and go to expression map and just choose to import key switches and if it's in hallian and all the iconica this one the beautiful things it just automatically generates those expression maps for you okay so we have a question is it possible routing a voice track into a vst synth some instruments will allow you to do that so let's say um so let's say i'll just have oh okay so let's say i just want to take this particular sample like this voice file and what i want to do is come over here is to let's add an instrument track and i think we could do it with retrolog so you could obviously sample directly into hallion but i'm going to activate a sidechain input and let's say i want this coming from the vocal file okay and then once we do that we need to um i think we will come over here let's say i haven't done this in a long time but you we just run it through like a synth sound so let's say we'll take our oscillators down and okay so okay so now i had to side chaining in then i could take the input here of this particular instrument and so just put this on and at this point you could run it through the different filters uh so just kind of run that as kind of like a side as a side chain input and then you could run it in directly into some of your different filters here's let's say in light we and trying to remember there's like one other parameter to set up here so but you can't do it in retro logs so you can read up on kind of the side chaining into retrolog uh so we have a question can i use a 12 plus year old vsti plug-in in cubase 11 certainly as long as it's uh you know as long as it's 64-bit um if it's 32-bit you you know if it's a 32-bit plug-in you may have to run something like jaybridge so but you could just simply if it's a 64-bit plug-in which did exist 12 years ago um it's no problem seeing from jvi he wishes that there's kind of like a real time midi bus for instead with the four sends so so and uh so more jvi if he's heard anymore if i've heard any more about a midi boss so i i haven't so okay so i just see why can't i hear my chords when i swipe select them so let's go out to like chord track so so i'll just revert this project here okay so say if i'm just i think we'll get rid of our flat fifth chord all right so let's say i just do okay so now as soon as we come over here let's see um all right so this time we have this kind of selected okay so just so let's say if i come here like i thought that we would hear i thought maybe we could hear here or maybe it's the cord pads that i was thinking of so it's so i thought that it might have sounded the cord but let me just see if there's any preference that may have disabled accidentally all right so nothing so i thought that maybe when you clicked here that it could play the chords on the selected track but let me just try yeah um so i'm not sure let's see we just check on our preference real quick see if i out clevered myself in it so i could do some more research on that tanmay okay could you explain pre-fader versus post fader in side chain inputs on a compressor or multi-band compressor thanks so let's go ahead and go to like a quick side chain scenario that we have okay i'll activate this project here all right let me just revert this quickly all right sorry for killing everyone volume okay so let's say i wanted to compress sidechain compress this synth sound with the kick so i will come right over here and a lot of times when we do this we could do it um so i'll go to the insert so let's say i wanted to just go to the insert on this particular track that's one of the built-in compressors and we'll activate the sidechain and we're going to send it set it to this particular kick so now when we do this we could have so now when i go to the kick we could see that this is going to uh this into quick and when we go to descend here you can choose whether this is going to be pre-fader or post-fader so right now it's post fader so if it's going to be set to pre fader when i adjust the fader here it's still going to send the side chain info before it's not going to be affected by the gain structure of the meter but again if i wanted to move to post fader we could you'll have less of the side chain based on the level so you have just a little bit of the side chain and kind of change the balance of how much the side chain is being affected by the volume or if you want that to be completely independent that's when you set it to pre-fader all right so we see uh midi mills ain't used cubey since nuendo days all right okay so i just see the new sampler track is dope um but why can't i load it in like whole songs so if you mean like to take a whole song into it you know so you know you could so i'm not sure if you wanted to take the whole sampler track and trigger it into different songs or if you you know if you wanted to do different effects or just kind of playing it but you know you could just you know take any audio file and just simply load it directly into sampler track let's just see uh comment from tim weinheimer i think the steinberg cc 121 is in stock at the guitar center site i saw it there so okay all right so i see michael team says hit the like button so i could get a raise so you could always use more money so all right good to see jazz dude made the hangout okay so we have a question how to apply the track names to events of a track i renamed to my track but event stays still with the old name i try to rename by infoline it says it can't rename file so let's say if i come here um all right so let's say i have this is called j51 so i think it's a preference so let's go to editing i think it's um okay so i thought that i think there's a preference for this d there's like a track names gets um let me see if i can find it here just looking for this um but i'm pretty sure that there's a name there there's a preference for this look through here oh parts get track names okay so under editing parts get track names i probably read that over three times okay so now when i hit apply um let's call this a cue stick so but i think you could also if you hold down control or command and then hit enter that will automatically rename it as well so if i wanted to change the name of this to december 18th hit control or command and then enter that will rename the parts as well so but check out that preference uh under editing uh parts get track names and maybe like as they're recorded but you could play around with that seeing other people liking cubase frequency 2 is awesome and tube compressor okay so tim weinheimer just checked and the cc 121 is not in stock at guitar center uh so question why in cubase ads everyone uses mac like dom but in real life he uses windows i think dom is a i'm pretty sure you use a mac guy i think he does everything as macbook pro i think if you do a lot of tutorials that the tools for doing like screen capturing um on windows aren't you know are aren't nearly as good you know i think a lot of people use uh i know for a lot of mine i use screenflow and there's no screenflow on pc and being able to record like the audio from the computer capture that with your voice at the same time on pc using uh something like camtasia is a bit nightmarish so that's why you may see you know i personally run everything in my studio on on windows so i'm more of a windows guy definitely i mean i have an android phone and windows and very happy with it so but it's whatever platform you want to use is good okay we have a question how do i fix punch in and punch out when it stops working so it's generally it works when i've heard this question from people is the only time i really hear it is when we actually um when someone has activated punch points so so sometimes people will you know set the left and right locators so say they set the left and right locators independently but let's say there's a range selection and let me just decouple that preference for the cycle follows range selection all right so let's say this is our punch point here uh that this is our range and what you could do is if you have punch points activated you can have the range be independent of the punch so go to transport and get a punch points and you can say set punch points to the selected range so now when you hit i and o you'll have this these little red indicators here and that is what would punch in just in that particular range so if i wanted to just um punch in on a particular track here i could say okay let's just take all of these and i'll just punch the whole folder so at this point you could just kind of you know choose i just don't have inputs but you could have kind of independent punch points so if if the you know and i've also seen people that will set up a punch and they just don't hit i or oh you know and you can see this on a transport bar for punch in punch out where they set everything up for a punch but they don't actually activate punch and punch out so i think that the punch-ins work pretty you know reliably so but check it out just to make sure that you don't have punch points and that you have the punch and punch out actually activate it okay so we see from oren bynum good to see you orton uh hi greg please explain how we can go straight to particular topics that were discussed in past hangouts so um jan who's on a hangout today um he created a site called cubase index.com and there you could actually just search and that will kind of go through all the indexes for all the hangouts so it's a wonderful thing that gone has done for the cubase community so thank you on give him kudos okay just seeing some more discussion of renaming events okay so i think we cover that um okay so i just see it's comment but uh control room to separate headphones and monitor volume so you know if you um you know so if you wanted to you know you could go to within a control room so if you wanted to have headphones in your control room uh what you could do is let's say if you go to your audio connections we will come over here let's get to the control room and we could add a headphone bus so when you go to the headphone bus this could be connected to you know separate outputs and then you could have an independent headphone volume for the control room that's independent of the control room volume okay just reading through more comments and questions uh so greg is there a way to set value to default uh when double clicking instead of command click so i think you'd want you know you know if you double click on items that's often for selecting or you know like more for selection tasks with using computers so i think the control or command click is a good choice to set it to default values so you know if you you know so imagine just you know like you may want to double click on you know various parameters to select them to enter in values here so let's say on the info line you know you may want to you know just enter in particular values to default so let's say if i select this you know i may want to enter into value here by double clicking but i may not want to actually have it go to the default but double clicking often allows you to select the event and to double click to enter in a value just as kind of a user interface and how software works so i think that the command or control click makes sense for that okay hey greg how could i do a gated side chain reverb or delay with third-party plug-ins only want to delay verb in the open spaces so really you know you could do kind of the same process um so let's give it a shot i haven't done this in a long time but um let me just go to track with some vocals in it so you know not every so sometimes people will put in like a uh like a compressor and gate the compressor before like the reverb return channel so i'm going to just double click on i'm going to duplicate my vocal channel here all right so say we have two vocal channels and i wanted this one to have a delay on it so i will just kind of come right over here so let's just put a delay okay and i'm gonna activate the side chain from okay so if i see if i haven't done this in a couple years up until that was okay so anytime that there is a any time that there's space in the original vocal so we just kind of duplicated this and you know if the third-party delay plug-in has sidechain capability you could do this so when we do this it was just listen to the vocal so as soon as there's space in the vocals this one kicks in that was okay i was so nice so that way only the delay is only kind of really kicking in when this track is not on so you can play around with that but the same process could work um also if you wanted to do it you know with uh you know the uh you know with the new multi-tap delay it was introduced in 10-5 so if i come here so i would just do the multi-tap delay but there is a um you have a docker so there is a kind of a docker function directly in here which will allow you to kind of get the same type of effect okay okay just reading through some comments here and i know we had some questions that were sent in um so just see what's the song with the female vox that you're always playing can i catch it on spotify so i don't know if it was ever released but it's a song called beatles or stones i think the singer is andrea it was written by my friend vince melamed uh he's kind of a you know a journey is like an amazing songwriter but a great performing musician as well so he's been a side man for you know the eagles and jimmy buffett and roseanne cash and just played with bob dylan so um so but i'm not sure if it's actually released as a particular song so okay so just saying from joseph and probably maybe one of our earlier topics about media view high grade gets in the media view and previewing samples you drag the sample into the track and play it the sample in the media preview plays as well what does select um okay so i think so if we're here we could just take let's say our media so let's say for auditioning samples okay so i think i understand what he's indicating so let's say if i drag this um all right so let's say i'll just add a quick stereo audio file here so let's say as we go on so say i'm playing this here okay okay so i drag it to the file here and as we play so um but it could be that you know this may just continue to play um so if you hit you know shift plus you know let's say if i'm here you know if it's a long sample but i think it hit shift plus the zero and the numeric keypad that so if it's like continue to play on after it's dragged in you know you could stop and you could just hit shift plus zero on the numeric keypad and that will stop the preview okay okay so um so we see what does select controllers in note range uh use extended note count do in midi so let's take a look um okay so let's say if i have some string parts here and let's say i just had some modulation data and let's say some volume okay and let's just okay so let's say we have this okay um so what does select controllers and note range do so i think if i select these particular range of notes so let me just make sure it's active so i'm not sure if this is what it is is the auto select so if i want to take these notes this would automatically select all of the controller data that's tied within that range so if i want to make copies i could do that and copy over all of the data or you without that checked it won't select the you know it won't select the controllers with that and let me just all right so i'm not seeing where the um maybe if you could tell me tami where the uh extended note count in editing midi so let's say if i go to let me just see if that's a preference okay so it's this particular preference here so let's take a look okay let me just okay i'm not sure exactly what that preference is doing kind of off the top of my head but i'll do some research on it for our next hangout okay so i see um probably another preference here just a quick cubase preference the split midi controllers all right so let's say i had a midi part here going on all right so i come and just synchronize these two views all right so now we have this and let's say i have controller data here so let's say i have modulation data okay so with this particular preference enabled what that's going to do with the split midi controllers okay so if we have that unchecked and i cut and split this note in half and i move this data over so generally what that will allow you to do is to have that that cc data automatically start even though that cc message starts earlier that will automatically be included when you split and it will write like the initial value of that cc data for that part when it's enabled otherwise the beginning of the cc message may fall only here so that when you actually come here that's where the the actual event is and it may not you know reiterate and put a start point on the particular event here without that preference okay okay so i just see question i have a piezo might get my feet to monitor my tapping can i use it as a signal to trigger a vst bass drum live i.e not by converting hit points to midi etc maybe some kind of side chaining so not really but what you could do is take you know a if you have a sustain pedal for your foot controller you could you know come over here so say if you have like a midi track you could go to the input transformer and you could tell it to automatically take your sustain pedal information so say type is going to be equal to controller and let's say value 1 is set to controller value 64. and i want this to transform that into um like a midi note message so we could you know just come right over here so let's say um let's say type is at the fixed value note and i want that note value 1 to be set to a fixed value of c1 so even though it's a piezo mic you know you could hook it up into you know a drum trigger device and do that but you know but this would allow you to take like a you know a six dollar sustain pedal connect it to your controller and time that you hit um the sustain pedal it will generate a midi c1 note so it will kind of if you wanted to tap with your foot you could do it with like a sustain a sustain pedal as well all right so we had some questions that were mailed in so let's go ahead and take a look at some of those all right i'm going to go ahead um so the question about setting up vst connect so let's take a look we get this request in the last hangout all right so this is kind of ideal for pandemic times so we could come right over here to our i'll open up this project so vst connect is going to allow you to do remote recording um let me grab my base bear with me just a second okay so you know we want to do remote recording and i have this kind of set up on between two different computers uh that's really kind of the only way to kind of show it in this context but let's go take a quick look so i'm going to open up uh you know to start off with you could do this you know you get two channels free with cubase but we have our vst connect pro and you could just start off with doing a create vst connect so i've kind of done that for my parts and what you want to do is to be able to connect with someone and you could look for based on their my steinberg account but you could also just kind of have a code that's kind of generated as well so i'm going to log in from my other computer okay so as we look at this now um what i want to do okay so i hear like what i want to do is we could see the other person on uh on the you know on the webcam you could communicate with them via the talkback microphone in a control room so this will kind of set up your control room and what we want to do is let's say i wanted to have a drum track that's playing and i want to record the musician with this particular drum track so what we need to do is by time we actually communicate with this particular musician we need to if we want their audio to be heard and we want this drum to go to them we want to right click and make sure that you know you have you know the q sends active so i want to just come you know right over here and we'll just open up like the audio channel characteristics for this particular track and we have this set to cue send four okay and that's where it'll default to the last cue send slot so when i listen to it i'm going to hit play and there's going to be a little bit of a delay initially and i'm going to switch over to this is what the musician is hearing it's going to be slightly different in time i'm going to blend the two together so this is now what the musician that you're recording is hearing and if i wanted to blend the two of them together it's gonna be delayed so but this is what the performer's hearing and this is what the engineer is hearing all right so once we've done this we want to and by default we'll have this set up for our vst connect and at this point i want to i'll just do a quick record test all right so just hit record all right so now i hit stop and if i wanted the musician to hear what they just played so now we're listening to the musicians feedback what we're gonna hear is just so we need to take the musician's q mix as well and be able to send this out to the cue mix of the musician so without that now if the person you're recording doesn't really have a good sense of what they're doing with their audio interface you could come directly over here and you could set up you know you could look for your users your different friends you could see kind of the input but you'll have different settings so you could actually control their latency you know the video upstream you know which input is being used so and you know once we have this kind of all set up we could see the different recordings that we've done here at this point we could just choose you know the get hd files and that will transfer if you had the vst connect pro we could take the full resolution files and be able to transfer those in so you know the tricky thing is just starting off with you know vst connect se you want to just create the vst connect se that will give you the tracks send it out through the control room then the plugins will automatically be added and you could communicate with them via talkback just like if they're in the recording room and you're in the control room and you could just record that person remotely all right so let's move on to another question and turn my bass off here real quick so if you want to record people remotely in different locations vst connects a great way to do it and the difference between se and pro is pro you could do midi recording you could work within a local network and do up to 16 tracks at once okay so let's look um so we have a question uh how do i get floating midi editor window to always be on top so let me just jump to another project here okay so i think that you know the intention is that it's going to be kind of a dedicated floating window when it's going to be uh separate so i don't think that this could be in always in top mode um so because many times you're gonna have stuff that needs to go over it um so when it's in a different window so if you kind of want to work and i haven't gotten a really great explanation as to why but a lot of times if you always want the midi window to be visible you know you could do the editing in the lower zone and be able to have that always be visible with you know and kind of function always on top mode but i'll bring that i'll mention that again um all right so i see question can unlimited text for the labels underneath the faders be activated so um i believe this works differently on mac or pc so you know at some point you know you may have to adjust kind of the length so i think in the mac version you could have multiple like two columns that was in the pc version briefly but didn't make it into 11. i think it went it was in like 1010 10.51 and not 10.52 but i'll kind of bring that to the attention again okay when i close a project with mixed console on my second monitor why does it not return to the second monitor when i reload that project so i've had my i tested this on my personal studio and it seemed like the um it could be you know it seemed to the mix console window seemed to stay where i was where it was when the project was last saved so if you open the project and maybe you didn't re-save it but just maybe worked on it but didn't save or make changes that maybe that is the reason but mine always you know was able to recall its position pretty easily okay okay so we kind of covered this one already during the hangout okay we covered that one okay so we have a question i'm having an issue with audio not playing back in spectral layers when i'm working at 48k is this normal is this something uh is there something you would recommend to fix this so i had spectral layers playing you know you know all sorts of different sample rates and there's no problem but i just wonder if maybe the audio interface is perhaps in a different um you know is in a different sample rate and maybe it's not changing uh based you know sometimes they'll some programs will send a message to the audio interface to switch to sample rate so you may have to manually change the sample rate in your particular audio interface and see if that makes a difference okay we covered that one as well okay so a question i am doing a project for some of my music students children six or eighteen together with an italian based music school it's a charity exchange program that i'm doing free for christmas in this covid time with lockdowns i have circa 30 videos and expecting more all the students children recorded their part on a phone with an in-ear metronome 66 bpm with corona this was the only way of getting the files i'm in a process of extracting the audio files from the phones however all these phones are not very accurate with time and the children even less so um how can i line 30 plus audio files with slightly different internal clocks to fix predetermined bpm of 66 bpm uh basically i would like to do the tempo detection and then flatten the parts to 66 bpm exactly usually when i do a tempo detection i get many points just above and under 66 bpm it looks like a scatter plot graph how can i flatten all the files to 66 bpm exactly so you know once you do the tempo detection if you wanted to you know make all the files conform you know so there's a couple ways to approach this one would be i would kind of take a lot of you know the i would the first thing i would approach that would be the easiest that may just kind of do the trick for something like this might be just using the auto alignment capabilities so if they're kind of in the ballpark and they're kind of you know creative let's say um i think you know being able to utilize the uh audio alignment so say in this example we may have you know some different files let me just switch my control room back real quick make sure i didn't mess it up when i okay so i would try to you know we could see like these vocal files or aren't aligned so i would select you know select one that's kind of you listen to it and see if it's okay you know use that as a reference and then select the other files just as uh target files and then just choose to align the audio and that may get you there um if that's if it's too far out to make that happen i would take you know these particular files drag them all out to here you know drag it out linearly do a tempo detection of each file so that the tempo can be distinct in time so you do a template detection of this this one this one this one you see the tempo information under at that point i would select all of the files and go to um your audio menu and just choose uh under advanced set definition from tempo and then once you have the set definition from tempo they will all kind of conform to tempo they'll be like a tempo parasite if you will um so once you kind of do that then kind of just you know line them up kind of maybe starting at the same point and i think that that would maybe do it so even if the tempo is looks like you know as like you know it was like really off you know that could be the way that you know cubase would rectify the timing situation uh a little better for you so so that's how i would approach it okay so i think this from dave so i'm having an issue with cubase 11 control room i put some vst plugins in the inserts of the control room cue sends and the main output and save close and reopen the project they disappear i have to reinstall the plugins again the cue sends etc as i'd left them previously so let's go ahead and see if we could recreate this so let's add just okay so let's say if i have you know plugins here so let's say i have just a bit of eq um and i'll go to different cue mixes here so let's just take this up and okay so i will save this particular project so okay and close the project all right and let me just okay so here it looks like those are all preserved at the curve eq so that looks like everything has kind of stuck as expected so i see my eq let's go here we'll see the vst base amp and the base so all those seem like they preserved i know a lot of times that the control room settings will actually kind of stick you know per project so that'll be kind of project independent but um if you have a particular project that you're noticing that dave you could send it to me at club cubase at steinberg dot d e okay so i have a question i'm building a large orchestral template a thousand tracks plus featuring multiple orchestral packages each instrument track uh has an instance of how you can sonic see your contact expression maps written um so it says i'm trying to balance the template i'm finding a very wide range of db between the instruments of the same type up to 35 db okay so i think we covered this in a previous hangout but a lot of times when we add let's say a vst instrument um like an orchestral thing sometimes a lot of orchestral instruments may not actually kick in until uh they see kind of like a midi cc message so let's say i'll come over here to let's say just a quick brass section all right so let's say if i wanted to so as i play this we'll just say you know you may not like as you play notes you know that could be really soft but it may just need a like often a modulation or an expression controller and that could automatically kind of take care of it for you so make sure that as you're doing it that you're starting off with the instrument with like the mod wheel up and i think that that would kind of solve the issue for you okay so we had some questions about media bay uh yesterday some strange things happened was hitting the stars to favorite a sample the sample disappeared i had to do a search again to find it okay so sometimes what happens with media bay is when we're in media bay you you know sometimes you could see all ratings so let's say if i wanted to just come to different uh you know loop samples here so i could just say let's you know look for audio files um so i've seen a lot of times when people will accidentally set the rating system to like five and then you know they're only seeing particular ratings here so check to make sure your rating system is enabled okay so it says um the other thing that happened i had to align beats to project mode off but every time i dragged or copied the sample to the project it sounded very short while the sound for media media bay player was stretched so if you're dragging samples from media bay you know you could have the align project here set up um and you know once you have that so that's just for your media bay preview so if you drag that in and it sounds different here just try to make sure that you have musical mode turned off so that's the line beats is so that you know if you're starting on beat two you know if when you hit that that it'll play back in the same beat as this but you could just simply but when you drag it in it's going to be independent and set it to musical mode and one last question because we're running out of time is we will just uh how to see subfolders in media bay so if you just click on this icon here this will allow you to see if you have a folder within a folder so once you select a folder all those different files will be there all right so we're just about out of time and i want to thank everyone for a hangout so i think we'll we may do one on tuesday let me know leave a comment in the text or send me an email if you want text i know it's really close to christmas but if you wanted to do a hangout on tuesday we could do one or maybe we could do kind of a club cubase zoom christmas party or something so let me know what you want to do everyone please stay safe and healthy and we'll see you uh maybe next tuesday let me know what you want to do take care and everyone have a great holiday season bye

Channel: Cubase

Views: 8,174

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: w-efhw2HlQQ

Length: 239min 15sec (14355 seconds)

Published: Fri Dec 18 2020