How to Use the Chorder MIDI Plug-in? | Club Cubase September 1 2020

hi welcome to the september 1st 2020 club cubase google hangout i'm going to do a quick audio test bear with me just a minute okay um we my name is greg undo i'll be the host for today's hangout uh i'm based in uh united states outside of washington dc area in alexandria virginia if you haven't attended a club cubase google hangout before how it works is we'll take live questions from people we uh questions can be submitted in advance to club cubase at steinberg dot d e or you could enter them in the chat field um so we're gonna if we were watching this live we're gonna get uh give a little bit of time for people to get logged in we may start about 10 minutes after the hour we may if you're watching this on a rebroadcast you can probably skip ahead we'll try to have the index for the topics covered in today's hangout with time stamps posted later tonight or early tomorrow morning uh and if you wanted to introduce yourself if you're watching live in the comments field tell us who you are and where you're from uh we'll let people get logged in uh and you could also ask questions in the chat field um as we work with this realize that uh the questions will exceed uh the pace of my ability to answer them in real time so you may ask a question it may take a little while to get to the answer we'll try to go through all the questions chronologically so it won't help you to ask the same question repeatedly that just kind of slows the whole process down so if we could try to avoid that also if you have questions that might be to a particular version it may be helpful to indicate like i have cubase pro 10.5 or i have cubase elements 9.5 that could be helpful as well so we'll go ahead and take a look at people that are getting logged in like many people here i have my family uh like we're like many people currently with the pandemic my family's at home so there may be introduce some interruptions so i'll apologize in advance for that i may have to get a show on for my son and he may hear my wife who's working directly above me now she's doing her work so i apologize in advance for any of the interruptions but let's go ahead and take a look and see who is on the hangout okay so i see let me just switch programs here all right okay so we have some questions on routing we have mark davenport um here's we have david from india we have vinnie from orlando good to see you vinnie all right so we have london all right so ted springman i think he's in sherman oaks robbie bowling is in dallas ted wants everyone to do a field trip to london sounds good to me they may not let us americans in though um okay so some levels we have matt from fort wayne okay we have hands from the netherlands close to amsterdam we have taylor from pine grove pennsylvania okay so we have agent k all right so we have columbia we have sweden all right we have john checking in from kenosha we're wishing you that everything that you're being safe john and hopefully any of the unrest is not in your particular neighborhood but you're in our thoughts all right so we have amir from iran good to see you on a hangout again all right so we have omu from madrid you have dennis your denny g from new york city we have greece michael from weatherford texas yawn in stockholm we have finland we have matt from central california all right so we have slovak republic all right so we have seoul korea it's 2 a.m thanks for staying up very late or very early all right so we have the virgin islands right so we have portsmouth virginia fellow virginian that's great okay so just seeing question on some plug-ins missing all right so getting more people logged in and we have agent k will be doing some moderation for us so i think we appreciate agent k for that okay so see dennis wants me to get going already he's in the hospital waiting to get a stint done you want to see who wants to see the broadcast so wait just for a couple more people get logged in if you could just be yeah good luck with your procedure all right okay see some questions on plugins wait just a couple more minutes and get started all right there's some more people getting logged in there's a green castle pennsylvania we have jazz dude from germany all right so gareth checking in from basque all right so millard brown from pennsylvania and dennis you could uh watch the hangout after and recovery if if we you know if you're getting going through your procedure so good luck with that okay so see question audio pitch correction yeah i see a comment there's a high-pitched wine in my audio so i may have to go through and just check uh it could be just i'm hearing a little bit as well but it might be just a like a ground problem i'll try to investigate over the next couple days sorry about that okay maybe one more minute and we'll get started get enough people logged in okay so just seeing some questions on hallian okay so let's go ahead and get started uh so we have question can you please explain what is the difference between routing and direct routing many thanks so if we have routing in our mix console so i will come over here and let's open up the routing tab uh i will just hide some of my input channels i don't need to see those at this point so we could see that we'll have our routing set up here so this is our input and output destination so we could send this to physical outputs on our audio interface or we could send it to different groups if we wanted to but we have kind of a single destination now when we activate from the racks direct routing this is going to allow us to uh to send not only to this destination but we could also route to a different destination so let's say if i came here and i wanted to add a couple of group tracks so i will add two group tracks so i'll make them stereo groups and what i could do now at this point is i could say i want these going to my stereo out and if we wanted to kind of mult or send this to different destinations i could hold down my alt option plus i'll select all those channels by holding down shift key hold down alt or option plus shift and i could say let's send all these to group one and let's send them all to group two as well now when we do this we could say we want to activate a little icon here called uh direct routing summing mode so if i wanted to at this point we'll have our cue link so hold down alt or option plus shift and i could now send the drums to multiple destinations so that's what the direct routing will allow you to do now as we do this one of the other unique things is i could say i wanted all these drums going to direct routing only in a particular part of the song so you could automate direct routing changes so let's say if i wanted to automate all these different parameters and say when we go back to this part of the song i could just turn off the the routing and when we come here i want to send it to like this group and let's say i have this group set up as a parallel where i wanted to maybe compress this heavily so different parts of the song i can now just say [Music] and i can turn this on and off so now if i wanted to come here to my transport i could just rewind a little bit here and and when you do this the automation for the routing [Music] can be done with direct routing so you can't really automate routing with the normal routing but direct routing can be automated so that's another difference with that so direct routing allows you to automate the routing changes as well as be able to um you know sent to multiple destinations as opposed to the normal routing could be done just for a single you know just sending it somewhere but without the capability of automation okay uh question can you demonstrate the use of the four articulation columns and expression maps and groups uh never got my head around these parts of expression maps so generally this isn't used too much but depending upon the instrument itself so say if i wanted to uh load up a project that has some of the different expression maps as we wanted to uh come directly to our expression map setup here so it could be where you know the intention is where you may have uh like short notes and then you get to have um you know different you know different uh articulations to kind of further supplement i haven't seen many expression maps that actually take advantage of that and most of it will just kind of indicate the articulation one but if you had you know different spiccato you know uh you know articulations that you wanted to define within spiccato and then maybe you wanted you know this to be or you own a pizzicato and you wanted a pits to be a colegno butado you could have those additional distinctions but it's not it's not commonly used for that so but the ability is there okay so let's see uh hi greg from india david from india uh my audio gets automatically adjusted to tempo how to avoid it so when you import an audio file into the project so i will just kind of start with a particular project here and sometimes when audio is dragged in and if the audio has a uh a tempo stamp in the audio file itself and we drag it in we could just come directly here and say okay i wanted to go to my loops uh and as we have different loops um so if i just want to drag this in we'll create just a loop here in this particular file all you'd have to do for it not to respond to tempo changes is from the info line just make sure that you have musical mode turned off and at that point uh if you have musical mode turned off the audio won't change so as you drag audio in or you could just do a select all for all the audio files and just make sure that musical mode is turned off for them and then they will play back at the original file okay so we have vinnies saying hello from sunny orlando florida good to see you on a hangout all right um so question from ted good to see you on a hangout do you have workflow tips for live instrument cycle recording to [Music] a guide track split into many sections and toggling between the markers uh with a bluetooth keyboard all without leaving the iso booth so if you want it to use a particular uh you know bluetooth keyboard this works well for a lot of different sources or people may want to have uh a you know instead of having a remote control setup just taking kind of a bluetooth keyboard and if you're doing a lot of different functions what i would do is to set up um a marker track so let's say if i'm here and i will set up a marker track up top so i will just come right over here let's add a marker track and i would set up like the different sections of my piece where i would say okay from here to here i want to add cycle marker and i wanted to add this is the next part of the piece i'm working on and i'm going to be in a remote booth maybe playing drums or doing voiceover so i would define all of my markers like so so i just grabbed my range selection tool and then i'm just clicking on add cycle marker and you could do this however you want so and then the track that i'm recording on uh what i would do whether it's an audio or midi is i would just come right here and know that if you hit the you know and as i wanted to just take uh let's say if i'm in object selection mode know that i could hit the arrow up key and down key here to just navigate so at this point if i wanted to record on this particular track hit the arrow up key and now you could just navigate excuse me let me all right sorry about that but you could just hit uh you know n and then go down to the track that you're going to record so let's say okay now i'm going to record on this track hit the arrow up key and you know you could just hit n and you could navigate to your markers like so so i need to you know go to the marker and hit you know arrow down at that point record hit arrow up and then at this point you could just navigate to next marker or using the arrow keys just to do that so once you have the kind of the marker set up you know you could just use the arrow keys to go kind of you know to navigate to the beginning of the next marker and use the you know up and down arrow keys just to um you know record enable on that particular track so whether you're doing midi or audio so i would just kind of set it up so you could just use the arrow keys and you could find a groove of it and be able to get your tracks laid down without visually seeing it once you have the markers defined okay so question how can i get my mod wheel to trigger a to trigger vibrato on a vst instrument so it really depends on what the instrument is capable of doing so if i have like just um you know like a lot of patches for organs as soon as you play and you move the mod wheel like you'll have kind of like a leslie effect or you could have kind of like a a bit of modulation so i moved with my modulation wheel move the mod wheel and that particular channel is sound there will change uh based on the modulation wheel so it really depends on what what is set to you know respond to modulation within the instrument so not every sound is going to automatically behave that way so you may have to [Music] go into the particular instrument and say you know as soon as i have my modulation we'll do this and the modulation depending on the instrument could be defaultly set to do different types of programming so let's say if i wanted to [Music] go to maybe like a synthesizer so let's say like maybe a synth comp sound um so as soon as i come here so as soon as i move my mod wheel now you may be able to bring out different voices i'll try a different patch [Music] of course i every patch i select won't do anything [Music] so as we adjust the modulation so it's really kind of determined uh upon what the modulation wheel itself is set up to do within the particular instrument so it's not just where you can do it to every single instrument and if you have a sample you may have to you know draw in you know or have it do like an lfo on pitch to kind of simulate vibrato so um but it's not where you could just say turn vibrato on but a lot of instruments will default to that okay okay we've gone through some different introductions here all right so let me just take uh going through some uh so we see question hello greg what do i click in preferences so midi editor pops up in full screen and not the bottom region so all you have to do is so if we double click by default most of these editors will end up in the lower zone so but if i didn't want that behavior and i wanted it to like in previous generations of cubase where it's a floating window we would go to your preferences to editors and here we can say double-click opens editor in a window so now when i double click on a part it's going to open it in a full screen window so if i go to my sample editor it's a separate window so double click here it's a separate window so once again we would go to your cubase preferences and under editors and we'll see double click opens either in the lower zone or in the window so okay so you see um hi ken question hi can you please tell me how to make my mix console it says my console by assuming mix console colorful and cubase 10. this is one of the things that was introduced in cubase 10.5 where if you see my mix console with the colors introduced here this was new in 10.5 so it didn't come in version 10 but the preference if you wanted to activate it was if we go to preferences and go to track and mix console channels you'll see mix console channel colors for that preference and now this is how it looked in version 10 where we don't really have the colors from the tracks uh within the mix console and now with this preference activate it at that point i can hit apply and now we can see that that will carry over and it could be even more apparent when using this particular preference in the full mix console so if i just wanted to uh let's say okay i want to see my inserts and routing and [Music] let's say sends um that so if i activate this preference again i'll move this over here so we can see all the colors kind of throughout the mix console and this is how it was in version 10 so and with that particular preference added in version 10.5 it will then uh carry over kind of throughout the entire mix console so if that's what you're looking to do you may want to upgrade to 10.5 so okay hi there i have cubase artist 10.5 and plugins like hybrid 3 and sonovox wobble just disappeared and there is no way to get them back what could it be so if you um just just reread the question uh so it could be sometimes these plugins will get blacklisted so if you come to your studio menu and go to vst plugin manager uh it's not blacklisted or they change terminology to block list sorry so you may notice that these plugins will be in a block list and the reason that a plug-in gets in the block list is because it's kind of deemed uh to be to cause system instabilities within your cubase so it'll do an analysis of the plugins and deem which ones can be causing system instabilities so it could be that those plug-ins were causing system instability so if there's a vst-3 version that will often be a better choice than the vst2 but you know check to see if it ended up in the block list of plugins uh and then you could unblock it but you know realize that it's been blocked for a particular reason okay okay i think the gain level on vocals always is low when recording i must set the gain on uh on a uh [Music] okay so i guess maybe ai or maybe azio so there's no clipping is it supposed to be low and then corrected inside of cubase um so it could depend upon you know check when you're setting the gain level for vocals you know one of the things you do in the mix console here is you know as soon as you have your input channels make sure that a that you see the signal coming in here so it should be you know you should be able to record kind of your gain structure as expected uh some people will you know compensate and drive the mic preamp and you know clip the converter um you know i see that a lot it just kind of you know maybe you know bad gain staging um but you know depending on your audio interface and if you're going into a mic pre into the converter you could also you know i've seen some people using external mic press and then you know they connected into a minus 10 input when you know it's a you know signal is looking for a plus four output and that could attenuate the gain on it so but if it's an integrated mic preamp in your console you should be able to see kind of the gain structure here and as you record you could attenuate or add more gain on the input channel so you'll see your signal coming on the input channels and here you could add or you know take away gain if needed to but you should be able to you know there's nothing really special that you'd have to correct afterwards in cubase but you know it could be um [Music] so it doesn't you don't indicate if there's and maybe if you uh it's still early in the hangout if you get indicated if it's you know an external mic pre going into a converter i've seen some people plug an external mic pre into another mic pre that you know could cause all sorts of gain structure anomalies as well so so but there's nothing no real special tricks in cubase for that and i think it's going to be kind of a hardware uh game structure all right so we have jay from connecticut i believe is in new haven so two questions how do vst plug-ins affect cpu and ram how is usage scaling um so you know vst plug-ins will you know affect your computer's processor and depending on the plugin itself most plug-ins will be more processor uh intensive sometimes um some can take uh if it's a convolution reverb that may be able that may be accessing your computer's hard disk as well you know if you're using vst instruments you know if you're doing a sample based instrument that's playing lots of different samples and sample layers you may run into scenarios where that's going to be taking more of your computer's hard disk and memory and if it's a synthesizer and this is very general which generating all the sounds that that could take more cpu versus memory and your computer's you know your computer's hard disk speed so depending upon the plug-in itself but generally like for like processing plug-ins like reverbs and compressors eqs those will take uh cpus um when you mention scaling so each plug-in you know is not going to be you know if you're running a single instance of a plug-in and how all daws will work is that single instance will run on one core so if you run you know eight reverbs you know those reverbs can be spread across eight separate processing cores but if you run you know you know one reverb you know that's going to be taking one set of instructions so just because if you have a you know it's like oh i have a 12 core processor i could run this monster synthesizer you know running one instance that may only utilize one core if it's only kind of set up as a single instrument so um so question do i ever use wave lab for sound design if so what are some of your most common uh go-to so if i do sound design and wave lab i may uh you know get into more of the spectral capabilities so which will allow you to and you can kind of do this with some spectral layers uh elements is spectral layers as well inside the cubase but if um you know let's say if i just wanted to come here and you know as we're doing editing you know for sound design stuff i may get more into you know different spectral capabilities uh as you kind of work with this so if you wanted to you know edit particular frequencies out or run particular frequencies like in earlier versions you could actually select frequency ranges and just run those particular frequency ranges through plug-ins so that's the kind of thing and you know here when you do this we see that we have you know our low frequencies um as well as you know our you know mid-range our highs and you know we can see when we see these kind of patterns of frequencies we can see kind of the harmonic overtone series so as we go to look at it you know at this point you could just you know take out particular frequency so that's when i would do some like sound design stuff uh in wave lab uh i was kind of doing more spectral stuff but you could also check out you know the spectral layer seven which is pretty amazing uh that comes you know that could be run in conjunction with wavelab and cubase so all right uh so you just see a comment from cap10 energy um so hey greg how are you doing did you get a chance to check out my videos so i don't think if i got a chance to um you know i remember them from the last uh or a couple of hangouts ago that you mentioned the videos but if you want to email me a link again to i'll see if i can remember to do it i think i may have looked at some of them they looked really cool but if you want to um i remember taking a quick look but if you want to send me a link i could just try the cap tenor you know your username but i'll try to do it uh after the hangout tonight before i start my uh start doing the index of topics but good to see you on a hangout again alright so we have gareth from the basque country all right all right so i have always a pling sound by switching tracks how can i turn that off uh so let's say you know as i'm playing here if i just wanted to switch between different tracks i don't really have any i'll try just on another project here and we'll see if this i'll activate this project and as i switch between tracks um so i don't have any weird sounds in let's say if i open up between my track editors here so let's say i jump to my group track let's get to sources and if i just wanted to go to my next channels here so it seems all pretty and here you can hear the automation so i'm not hearing any kind of pling sound but if i'm doing something wrong just uh let me know uh so question can you teach very audio pitch corrections let's take a look at it okay so when we want to do pitch correction by very audio what we could do is just kind of double click on an audio part and i'll just take it into kind of our full view and i will select very audio from the inspector and then i'm gonna have very audio kind of do its analysis by clicking on this button so when we look at our uh now it's gonna do is basically take different sections [Music] and it's going to just kind of go [Music] through so we can see kind of our uh melody here we'll just kind of zoom in so this is what our vocal looks like and we see our piano keyboard indicated here we see our pitch going up and there's kind of two different levels of control so you could say show default smart controls uh i like to show all controls and leave that as kind of my default and we'll show you kind of what the controls will do so we could call each of these segments and if i wanted to just go to the bottom here we could quantize the pitch so i could move that pitch just kind of like just like so and that will allow you to quantize it to the nearest pitch and there's three different modes for this previous versions of uh would actually allow you to do relative so as we moved the pitch here it would snap it um you know we have kind of different snap values so let's say this note is a bit sharp and now if i just wanted to snap it to pitch it would still move it but the same amount sharp by different notes i could also just put it into absolute so as i just kind of grab notes it'll just kind of snap directly to the correct pitch like so so you could find it's kind of pitch center as we also wanted to come here so the bottom would allow us to adjust uh like how in tune that is and i could do this for multiple selected nodes so if i want to take a whole phrase and just kind of do my pitch quantize we could do that so let's listen to it now [Music] uh and we could also if i was going for kind of a very processed sound i could just kind of if you know looking for kind of the classic vocal process sound we could adjust the vibrato or kind of the straightened pitch so now if i wanted to be very processed and you could always undo uh these changes so so we could do that now when we go to the corners of these different phrases uh we have some other options so if i go to the lower corner i could adjust just the volume so i could just say so if i wanted these notes to be like while i'm doing pitch shifting i wanted this to be a little louder a little softer we could adjust the volume right there i could also adjust in the lower left hand corner the formants so if i just say okay i just wanted to adjust the formant of that particular so if you wanted to have kind of more you know of creative control over performance or as you change [Music] now if we wanted to control some you know to join pitches together like when we look at this particular note here it's probably intended to be one single note so i could just go to the edge here and that will join these particular segments together and as we do this we could you know a lot of times you may see singers that drift flat at the end of phrases we could tilt those particular phrases and if i wanted to uh we see kind of these little triangles here and what this could allow us to do is as we want to straighten the pitch we could choose ranges at the beginning and at the end of notes where the pitch isn't really to kind of help with the transitions but maybe we want it in the middle the pitch to be dead on we could also choose this little diamond at the very top and as we move this i could just say we want to adjust the pitch just from this particular point without affecting and as i drag my pitch shift over here we could just say i want to uh and as i go to the upper left right left hand corner i can adjust just kind of the pitch there so it's not scooping and going in and you could also just say i want this note only to last this long or i want it to be stretched out because the singer ran out of breath um so those are a couple of things that you could do within the very audio but it's incredibly powerful and i think that the workflow uh since version 10 when he introduced a very audio three makes a lot of sense um and i thought steinberg did a great job with that okay okay so just see a question i can't find an answer to this anywhere is there a way to keep hit points when bouncing a track or to export midi from all the hit points in a sliced up track without bouncing so when you bounce the track the hit points aren't going to be carried over but if we have hit points uh what you could do is let's say uh let's say if i go to hit points let's say on this guitar part here i will go to my hit point detection and if i wanted to incorporate those uh we could just choose create midi notes and we could retain the dynamics or not and what that's going to do is to automatically you know just so we'll just choose to create midi notes and i'll just do it on a new midi track i could do on the first selected one and that's going to carry over the hit points uh as midi information directly from the hit points from the audio file itself so that's how you could export the midi from the hit points in the sliced up track so and it's really good for editing drums um so we'll show you what you can do with that if you're doing hit points like that for drums so i'll revert this quickly so let's say if i wanted to do just like a quick drum replacement so say like maybe the the kick wasn't blowing me away in the recording but i like the feel of it and i have to mix it so i'll just kind of so as i work with this what i could do is just double click here uh and i'm gonna have just um i have a drum set loaded up here with groove agent so let's say i have some samples i can take my kick and i'm just gonna find kind of the hit points and set the threshold kind of accordingly so as i do this and i'll say create midi notes and i'll retain the dynamic velocities and i'll just put it on to the first selected midi track where i have groove agent [Music] and now i'm just triggering the kicks so i'll mute my kick drums and i could just layer those together and if we just kind of turned off groove agent [Music] so that's really helpful doing kind of the uh create midi so once again in the sample editor uh just double click and go to your hit points and just say create midi notes so yeah it's super helpful for drums okay okay so i see a question how can i switch the mixer name to display two lines thanks in advance i think that this is kind of fixed um so if i come here and i name my tracks uh and this could be a different in mac and pc so let's say if i adjust uh my track names here we could see that this will go and be able to uh adjust within the mix console the names will go to two lines i think um someone had emailed me and told me that maybe on the windows version in 10 5 2 that that went back to a single line but i could check uh just to make sure to see but there's no real setting with that but it could be kind of based on the version that you are using with that okay so let's move on okay so let's um [Music] all right my chat field jumped so let me just get back to where i was um all right so let's just go ahead um so i see comment or question latency is too small to read in mixer view how to change the size of that so when we go to uh the mixer view here uh and we see the latency settings in kind of the main mixer so i'll just hide my input channels and i will make sure that we have the latency view checked here so we'll make sure that we have the channel latency um and as we see this let's say if i have a couple of plugins i'll just throw on my master inserts that will have some latency that's easy to to determine so they have a multi-band compressor that often has some latency so you can see uh here the latency settings but if you actually just kind of click in the field you could see kind of you know uh the latency set by plug-in so as we kind of uh look at it over here we could actually see what uh plug-ins are causing uh the latency issues and how much latency each of the plug-ins is causing so if it's this is too small to see and it could be you know if you're like this resolution is 1920 by 1080 but you know if you're running like a 4k display this could be smaller but you could just kind of click to the right of that and that will open up in a much bigger window to see the different latency indications all right so we see question i have cubase pro 10.5 with ur 44c able to record but the ur 44c is not showing anywhere in cubase uh are there settings in cubase i'm missing to have it show so one is to make sure that you have uh the drivers set up and when you say it's not available to show i'm not sure exactly what it means i have a ur 24c that i'm using here so it's a pretty similar interface so i just went to um here i could see my you know i go to my studio menu to studio setup and under my vst audio system uh i could just see my ur 44c you know laid out for me right here so make sure that you install the drivers you know it's not a class com you know while it can be a class compliant for you know there's a probably a little switch where it could be class compliant for running with an ipad or ios make sure that switch is not set to class compliant when you have it connected to your computer and that you have the azio driver selected but if it's recording it's probably functioning correctly but you should just make sure that you have the azio or core audio driver and that you have that selected here within the within cubase and you should be all set but if um so but if i'm misunderstanding just let me know okay so we have question in the device manager uh can i have an input coming from one source and the output going to another source such as monitors so let's say i will come over here so let's say our device manager and let me just make sure i'm in the right area here so say our midi device manager um excuse me all right so uh can i have an input coming from one source and the output go to another source such as monitors um so i'm not sure if this is a device manager so there's a midi device manager inside of cubase uh but you could you know if you go to your studio setup for your audio connections you know if you're talking about going to monitors you know you'd if you have cubase pro you'd probably want to be able to have uh the control room set up so here you could have like currently i have uh my outputs going to my hs7s which is the feed that you guys are hearing but i could have other monitors that are set up and my inputs for my audio interface that are independent of the two so if this isn't in the device manager but in the audio connections and that's where you could define your inputs and outputs uh and generally if i in cubase pro i have the stereo output defined but not connected and then i run it in the control room and then all of my inputs are kind of available independently okay so uh hi greg and uh and all from france are the text fonts in howing in six uh cubase 10. 10.5.2 pro resizable i want to widen them how so if we want to look at hallie and six here so i'll just go over to my so i'll drag in italian six here so when you look at this this sizing these fonts uh i don't know of a way to change their particular size i'll just take a look see if there's anything under options but i think the font size is going to be consistent um and so i don't know of a way to change the font size uh within hallian i think that might be fixed other than having your screen resolution change uh and if it's you mentioned you know and just in case it's for howling in sonic s e i think that's going to be kind of the same uh setting so it would have to be just a change in resolution of your display driver okay so i see a question from ted uh how to dissolve a midi track into 12 tracks where each one gets a specific note from the 12 tone scale so all right let's take a look see if we could do that quickly there might be an easy way to do it or we could do it i'm sure from a logical editor okay so i'll activate this okay so i will okay let me just just go to this part here let me just enter in a quick chromatic scale [Music] here i'll just draw some notes in sorry about that let me just um all right so [Music] so i think if we wanted to come here we could say midi to dissolve part and then if you wanted to separate pitches that each of those would automatically be uh broken down by their pitch like so so as soon as you have uh notes you know in a particular area all you have to do is go to midi and dissolve part and choose to separate pitches and then each pitch would automatically be mapped to its own particular track for you okay so a question uh hi greg do you know of any crashing problems with with browsing uh dot mid drum patterns file browser connected to groove agent the kit just sent email to support about persistent crash uh with dump file i haven't run into uh any issues with that um but if you have uh like some different midi files uh you know i haven't run into any particular issues with that okay so um all right so i see a question from uh key flow music can we edit file names in media bay so if we wanted to uh jump to media bay here and we wanted to edit file names uh all you'd have to do i'll just stop that as you know we'll go to the right zone and i'll just make this full screen okay so let's say if i just want to all right so let's see if i just wanted to and see if we could edit name so you might have to know because the media base is going to be referencing the name on the particular file itself so let's say so you may have to just you know you could add kind of let's see if we could add a you know you could add your own name to it but it looks like the media bay is going to you know deal with the particular name of the file um you know instead of renaming it in the explorer so it might be that you'd have to you know go to the particular um source of the file and rename it there as opposed to having it so that media bay still kind of keeps that reference to it i'm just saying if there's there might be a way of doing it but i think it's going to just uh determine the actual name from the location so you may have to change it at the location and that would automatically reflect in media bay uh so you see uh key flow can we drag and drop like studio one so yeah tons of stuff can be dragged and dropped in cubase so if you wanted to have you know instruments so let's just come here so if i have my vst instruments i want a loop mash i could just drag that and make uh that particular instrument if i have inserts open i could just go to my different effects so if i wanted to drag it to a particular track that would place it as the insert if i wanted to uh drag it below a track that will put it as a scree an effects return channel all of my audio and you know different loops we could just drag and drop right into the project as well so if you just wanted to so anything that you wanted to drag over for a media bay to get drag from desktop but you could also have you know different presets so i wanted to come over here and have you know channel strip presets so if i go to uh my particular let's say i have some audio files here um you know and i have this channel open you know we could just drag and drop presets directly onto tracks as well so if you want to have effects presets you know so very much uh drag and drop you know samples into groov agent you know effects different presets file browsers so a lot of drag and drop that you can do so okay uh so you see dennis commenting the problem is i'm having is i bought a spark amp which has its own audio interface when i play back a track it goes through the spark amp instead of the monitors in my studio so yeah you probably want to use you know a lot of times you know it's easy for a lot of things to give you your own audio interface but and the problem that you have when setting up you know you could on the mac platform set up to do a uh aggregate device where you could use two different audio interfaces but the problem is that compounds the latency and on windows some people use different audio interfaces just by using like uh asio for all um but the problem is that the two of them tend to you know their clocks there's no way for the internal audio clocks to resolve so the two clocks will run out of sync with each other and that's generally a bad thing to have your audio going out of sync so instead of using your spark guitar amp usb output you know you may be better just connecting that directly into your audio interface instead of using the usb if you have a usb interface or if you have an audio interface already so you're probably not really gaining anything so if you have the capability you know try not to do it because you realize that the digital audio clocks or kind of the uh the dna of what makes a a program like cubase work and when we have you know the different elements are out of sync and cubase can't control that it's a bad thing so try to just go analog out of your spark um i'm sure there's an analog out so and you know it could you know if you have a usb if you have an interface already you know try not to use your guitar amp as an interface um all right so let me say see ace kind of referencing maybe a question he had asked before but i'm not sure if i saw it from earlier uh so if you get a chance ace to ask a question um so i see question uh can you set up two groups of faders so that one set moves in the contrary direction of the other so it's not really set up in the mix console to you know as you set up you know you could have these two faders linked together so if i wanted to come here and let's say link these two i could just put it into like a quick link and be able to do this but there isn't a uh you know move it move this one up and the other one goes down in contrary motion uh you could do you know automation and reverse the automation so i've seen some people do stuff like that but there isn't a function to uh just have kind of you know a contrary motion like a contrary link between two faders but i've seen people do it with you know just you know drawing in automation quickly enough okay okay so we have jason checking in from a cloudy south shields hope you're doing well jason okay okay so uh so question when i import a midi from media bay it can have a lot of overhead i.e instrument attribute sustain info maybe more overhead how do i clean a midi so you know if you wanted to um so let's say if we have uh midi and i'm unsure if it's a um if it's a midi loop or a midi file so when we have a midi loop for instance uh i think we have some in here so it kind of look like this and let's just do something besides drum beat here so let's say maybe like arpeggios so say i just drag and drop this midi loop over um and then we'll play this all right so a midi file when you drag it in isn't really associated with a particular um you know with a particular instrument but a midi loop has the instrument and its sound so that it knows exactly what instrument to play back the midi information from uh and as you do this um you know let's take a look at this part in like a list editor and sometimes this may include um a program change so if it's a midi file when you drag it over you would probably see that it would have uh you know midi information it would have like a program change maybe effects and if you wanted to get rid of that you could go into the logical editor um and there may be even a preset for like get rid of patches let's just see if there's um but you know what you could do is just go to kind of the logical editor and here you could choose to filter out um or you could just say delete and you say type is equal to you know program change and if there's uh and we could also say type is equal to and you may have like standard midi file events and you could delete those different you know sometimes people do lyrics and you know a bunch of extra metadata like you know my name is so-and-so i did this midi file so you could choose to delete out the standard midi file events but if it's a midi loop that's going to and i'll just make sure um so you know that would include the instrument but if you wanted to get sustained information you know just go to the logical editor again and so say i'll just go to the logical editor and if you have sustain pedal you just want to say you know you want to delete um you know let's say program changes you want to delete standard midi file events and you could also say controllers and you could say the controller value 1 is equal to 64. so that would delete the program changes sustain as well as like any metadata for standard midi files and just choose to hit delete and then you'd be all set okay okay so i just see from ohas ohas uh i've been trying to edit audio wave outside the track um so i'm maybe if you could uh reiterate the question or ask in a different way um i could maybe help you out with that okay okay we see dennis is going in for his operation now we'll see you on the on the outside so good luck okay so we see paul the guitar is from lynchburg virginia okay okay so i have rudy watching club cubase and drinking coffee in seattle i miss drinking coffee in seattle so i'm jealous all right okay um let's see uh hi greg joe from austin any tips for maintaining proper gain from a recording of a speaker who drifted from the mic uh i hope you you are well many thanks um yeah so sometimes if someone if you have a speaker that is going back and forward and moving back and the mic and maybe they're off to the side and it's not a very consistent volume level um you know stuff like that sometimes you know running a compressor can sometimes help um you know but it's you know if you know you don't have that information in the recording it could be very hard you know what i've done on a lot of vocal you know if you do you know i did a lot of um i did kind of editing for a book on tape that was remote recorded and the guy you know who led a fascinating life kind of this real life forced gump ask character you know meeting multiple presidents and you know world war ii being shot down and you know just a fascinating life story um but you know they would record him and he would get pretty drunk and as he was kind of working on different stuff uh he would you know tend to go a bit uh you know you know moving a lot on the mic and you know recorded him on the porch and stuff like that so i do a lot of cleanup on stuff like that and you know what you have what you may have to do and after a while you could see it but i see i'll just do some quick find a dialogue track here okay so let's say if i was just kind of coming over here and this is where like the clip gain can make a big difference and i know this is sometimes very tricky to do if you know you don't have as much gain um but being able to you know take different phrases here and just hit like shift x and say i need to bring this up i need to bring this down [Music] and kind of if you could level you know set your levels kind of here and get that as regulated as possible um you know and i know people that do this for vocals all day every day you know and i'll just cut each word and you know just i want to bring out that plosive this breath was a little too much right here so just selecting different areas hitting shift plus x and then just you know bringing up different parts and after a while you will you know be able to take out plosives uh and bring parts up where they're maybe back or if they're like eating the mic to be able to bring it down um then once you kind of do that process then run it through a compressor and that could help regulate it a bit more but i think between kind of doing the clip gain processing and running it through compressor you may get lucky and just be able to put a compressor on it and you know have it magically work my guess would be uh that you would probably have tried that already or you wouldn't have asked but tried the clip gain in conjunction with the compressor and that worked well with you know doing my book on tape from a porch from an old drunk guy okay i see cotton nice comment from oha sohas chilling just watching greg guru his way through the matrix at cubase i just push buttons and talk that's all um so i see kefla mentioned yeah people want me to start doing cubase tutorials i'm studying his teaching styles i'm flattered so i see michael teams indicating that make sure you smash the like button beat the rush do it now so that's i won't disagree thank you michael um so i just see comment a question is there a playlist tutorials for cubase 10 pro for total beginner on cubase um so you could definitely you know there's lots of different playlists available you know like i did a tutorial on like your first recording in cubase and then you know that's been incredibly popular one um i'm not sure i haven't looked through all the playlists but there's lots and i you know i think you know between the different people that do tutorials for cubase that you know that there's a very active youtube community and that's a big part of what steinberg does and helping out not only in hangouts like this but other tutorials so you know look on the main steinberg page looking in youtube.com cubase and check out all those different resources but there's lots of resources to kind of go through so and i see jazz dude mentioned that he has some in his uh cubase hangout discord so check those out as well that there's a beginner section uh so see from ace uh hi greg i downloaded one of the cubase demos to study it it has a little padlock icon how can i disable lock so i can move the track around so if there's a padlock icon it's probably so let's say if i have uh like this track um there's probably just a lock here so you could say lock position uh and let's say if i make this larger so we see like the little padlock here so now if i move it so try to select it and under lock just set it to none and then you should be able to kind of freely move parts around so sometimes people as they're doing that once they've done a lot of editing on you know they want to make sure that they're not like where they out clever themselves or like oh i just knew that oh and why isn't everything falling apart i spent eight hours editing so people will choose to lock different components whether it's the position the size the position and size you know so other attributes so try selecting it and from the info line click here and then uh you should be able to turn off the lock and just seeing a nice comment from jason sykes has purchased italian six as a cross grade for 107 pounds a no-brainer really and it must say getting grips with it slowly but what an amazing tool it is it is a you know probably you know i always described it as my desert island instrument or if only i had to have one vst that could do everything it would probably be highly in six um so glad you're enjoying your purchase okay okay so uh question can you ask michael to give a heads up on upcoming spectral layers hangouts i missed the last one uh i will i know that he was going to be doing it uh and then i think had some technical issues and canceled it and then kind of rescheduled it uh shortly thereafter but i'll see if they can do but make sure you subscribe i think that's on the normal steinberg software youtube channel so make sure you subscribe to that and you'll get notified of upcoming hangouts okay um okay so i see uh greg and everyone first question when is anticipated release of cubase 11 version so you know generally steinberg doesn't uh announce stuff so far in advance so you know uh when stuff is announced you know recently like over the last five maybe ten years you know the announcement is the same day of release so we don't get into uh you know the anticipatement factor you know it used to always be you know like a lot of companies would announce stuff in january at the damn show and it used to be you know the running joke was the acronym of nam was not available maybe march and then it turned into not available maybe may so you know i'm sure that the fine ladies and gentlemen that are doing the development um are working really hard and you know when cubase 11 is done you know they'll release it so okay okay going through um okay so i see a question uh from gary ward hi greg from florida do you recommend storing your final mixes as a stereo mix in a separate folder within the project folder how are the final mixes usually treated versions seem to add confusion it doesn't really matter where you put the files as long as you know where to find them and that's the big critical thing you know and it's uh you know when i go to different people's houses or i'm on their computers remotely helping them you know i often see you know uh you know you know stereo mix final you know stereo mix final two final final final final you know four times you know so but as long as you know what you know where every whatever folder you save the files to is fine you just have to be able to know which one is your you know is your finished mix um you know so as long as you know where to find the files and you have you know and every person will have kind of like their file organization and you know sometimes you look at people uh you know and you go wow you know your actual desk is probably as messy as your computer desktop you're not very good at being able to find that particular file or you can't find this and you know people you work with you know who inevitably just can never find the file that you sent them two weeks ago so as long as you know where your mixdown is i've seen some people store it in a separate mix down folder just in case you know someone deletes the file they'll back it up to a cloud drive you know they'll have it in you know named as mixed down stored in a project folder i know a lot of people will store the mix down in the project itself so that that file is always associated with that project so when you do the final export audio mix down that you create uh an audio track so when you go to that particular project you could just have that mix down file within that particular project i think that's a great idea to do so you open up the project and mix down is there afterwards if you need to make any tweaks or adjustments you could do that but as long as you can find a file it's you can store it wherever you want just you know just make sure you have a system down uh so we see a question just out of curiosity does steinberg notify the plug-in makers that they have issues you know when issues come up and it becomes apparent and it's pretty obvious um you know there is a lot of behind the scenes communication that goes on between developers between the companies um you know and sometimes i don't get to see it i'm more kind of on a product specialist marketing side uh but i've been you know fortunate enough to be invited while in hamburg you know to some of the uh development team meetings uh you know some of the you know uh you know like head of development one time i was there he just invited me because he thought it'd be interesting for me to see and you know it's and one of the things was to me is like how you know the different developers between companies do have a pretty steady stream of communication for issues that will come up so i'm not sure if you know if uh like if there's a trigger in it that goes but you know a lot of times you know there is communication going on between the different companies okay so i see question um i want a darker theme for cubase uh i hope we get that option in 11 so i think you could probably darken up a lot of the aspects of cubase already so a lot of people will say it's too dark especially like when you know the darker themes kind of started coming out a couple of versions ago but if you want it to be darker i think if you go to preferences uh and you know there's different color schemes so here we can see our project area background you could make that darker if you wanted to so if i just come here and hit okay you know you can make different aspects darker or if you wanted this to be the defaults um at that point so you know feel free to kind of go in here and play around but you know there's still some you know you can turn the lights down even further uh if you want to okay is there a special command for panning to center or leveling to zero so when we come here let's say i have my fader here and i wanted this to go to zero i think it's just uh if you click and hold down command or control that will do that so if i come here and i have my pan click uh command or control while clicking with the mouse and that will automatically set it to 0db or to your center in the panner so if i come here hold down command control and click and then you'll be centered click there and then that will take you to 0db okay uh so i see uh probably a further uh uh clarification uh i was asking about the low record level from microphone i have no preamp for mike just a zoom r24 and dynamic mic always weak record signal i think small display and the input channel so you know make sure that you know there's probably gain structures that you need to set within the i think the zoom r24 is kind of like a mixer uh with an audio interface kind of integrated with it so if that's the case you know make sure that you have um you know let me i'll just take a quick look at it just to make sure you know so just looking at a picture of the zoom r24 make sure that you have the gain you know there's the knob right above the led faders make sure that you have that gain uh adjusted up i know you may have like a four segment meter which is uh probably not the most useful metering for input uh right below that but you know try adjusting the gain up of that uh and that will you know if you if you have that all the way up then you may just have to you know somehow you know once it's in cubase you know you could add to the input level in cubase but you you'd probably want to fix it at the source itself so make sure that the gain and that is kind of like i bet that's probably just looking at the picture of the unit the uh the mic pre input level so make sure that's all the way up and you know i you know again i see like a four segment meter which isn't incredibly uh may not be so useful so look at the meter that's going on on your input channel of cubase and see if that is reflected by the gain knob there and if not you may have to you know consider getting like an inexpensive mic pre i think art makes some you know um and that could boost your level as well but i think you should be able to get a decent level out of that um and just make sure that you have that gain uh right above the the fader at the top that you have that cranked up okay so question can a midi track be set up to listen for a single note anywhere up and down a keyboard and only record that one note regardless of octave so let's see if we can get that looked at here so i will add in a instrument track so or i think we may already have one in here so let me just i'll just revert this project here quickly thanks for all the wonderful questions if you've learned a new tip or trick uh please feel free to like the hangout and make sure you subscribe to the channel if you haven't done that all right so say all right so i have an electric piano here so i'm going to go to my input transformer and i think we might be able to do it from here um so we could say we want to filter out and you can say note is equal to [Music] um [Music] okay so here we could choose to okay so we could filter out individual notes here [Music] i know there's a way in a logical editor let me just see i may have to set up in the logical editor first so i think if we choose to do [Music] delete and we can say value one and i'm just trying to remember the maybe it's under context variable so we'll say note is equal to i did this on a previous hangout so i'm gonna have to go back and watch my own hangout but it's one of these uh where we could actually just assign like all notes or pitches equal to and let me just see if i can remember how to do this i think it was like [Music] and ted you could probably search your database of hangout topics but we did cover this i'm just trying to remember let's say type is equal to okay so now if i have um okay so i think so let's see if i go back to my transformer so here in a logical editor we could apply and we can say note is equal to e um so here we could set it by the pitch so once it's been recorded and i can't figure out how to get it on the logical editor but if i had a bunch of pitches here so let's say okay so i'll just make this part longer sorry about this [Music] do so now if i come over here and just say we're going to delete notes that are equal to the pitch of e so select all and apply so at that point you could choose to so if i have a bunch of notes that are e so not on input but this is what you could do for your logical editor instead of treating on a particular midi note so i have all these e's here i could just say we're going to apply that logical editor and all the e notes go away so but it doesn't seem like we when we do the input transformer it's going to look for particular notes but you could do it after the fact using the logical editor and again to accomplish that you could just say uh delete notes where pitch value 1 is equal to node is equal to and this will be the pitch versus the actual note number so good question ted uh hello greg uh we have a we know ramji or ramji from kenya why is multi-band compressor when added to vocals or busts there's a delay in vocals or in any audio um so when you add let's say if i add a uh plug-in you know on a vocal part or you know what it's going to do and it could determine that you know it's going to you know if it's going to be added on the track as after it's been recorded so if i come here let's say i have my electric piano part and i play you right here like my latency you listen to you hear my my finger hitting the keyboard in the mic but now if i come over here in real time put on a multi-band compressor let's say on the on the particular audio track here so i will go to my inserts and let's add a multi-band compressor and if this is on during kind of the live tracking that's going to impose latency and that would do it if we were doing live input but as it plays back it's not going to it's going to compensate for that latency but that latent that plug-in still takes you know 100 milliseconds for it to kick in and do its processing now the multi-band compressor that comes with cubase has a live mode for a lookahead so if i activate the live mode um that will help with that so make sure that you have them you know so if you're doing it on input that's going to impose a latency and you'd want to hit the live mode but if the track is already recorded and then you put the multi-band compressor on after the recording process then that will play back in time and the latency will be compensated for so make sure that you're not trying to do the multi-band compressor on input and if you are put into live mode okay so question how to remove hot mic from recording vocal comes out up front compared to vst instruments when recording vocal mic you can't use effects due to latency and i'm trying to uh get around this so you know depending on your audio interface so if you have like the steinberg like i have my steinberg ur 24c and that has a built-in compressor on on the channel so that's built into the audio interface that's controlled by software but it has a built-in dsp for that um so you could control that you know some of the other plug-ins like you just saw how we could do with the live mode on the multi-band compressor um but you know so i would you know but a lot of this i think could come down to you know the gain structure so so just to read a question again how to remove hot mic from recording vocal comes out up front compared to vst instruments uh we're recording vocal mic you can't use effects you know just make sure that as you're doing it you know so you could have your audio track indicated here so you could have your input channels uh and i'll just activate my input channel so you could see it here so you know if you have your input channels you'll see that but if you find that you know let's say this is the input source that's coming in and then maybe this is the track you could just bring the level down of this without affecting you know bringing this level down doesn't affect the gain structure going into the recording this will just affect the playback so you could you know leave this gain structure if that's where your mic is connected and just bring this volume down and that's not going to affect the recording level because that's going to be determined by the input source so you know try just bringing that down as well that will probably make it fit better within the context of the particular you know project as you're tracking i would do that okay okay and then i see kind of just the follow-up question uh about recommend for gain staging you know so you know make sure that you know you want to make sure you know with gain staging often you just want to make sure that you're not doing too much gain too early you know so make sure you have a good amount of gain coming out of your mic preamp and that the mic preamp is hitting the converter well so if you try to say okay my converter is set to load and you try to compensate by boosting the mic preamp you know you just want a healthy gain going out of each stage that's not overdriving or that's not under driving and once you have that you know the gain structure will kind of fall in place pretty easily uh hi greg uh it's a question can you please explain how to migrate projects programs and vsts to a new computer um so you know when you do projects you know the easiest thing to do is if you're if you're clever and had a good file organization for your projects they should all be within one particular folder so what i like to do when i start a new project is to come over here and prompt for project location and i put each project into its own unique folder and that way i could copy that particular folder from you know computer a to computers bc and d so and then all the you know once you've defined a folder for a particular project at that point um you just move that folder and everything that's needed for that project will be carried within that folder so that so for the projects that's easy now for uh programs and vsts those could be dependent on you know so if once you install cubase all the components that come with cubase are going to be installed with it so but if you're using third-party plug-ins uh at that point you may have to just you know and it could be different for every plug-in manufacturer you may have to re-authorize the license you know you may have to you know dude you know you may have to move content over you may have to sync up a cloud account you know with the steinberg licensing system of being the usb driver being the usb eli sensor you know you could just freely connect that to another computer and you can install all the programs freely and all the steinberg licenses will be can be accessed directly from the e-licenser which is you know incredibly handy in these particular um you know situations now as you do this you may have like key commands and you know different user settings that you've created on one computer that you want to migrate to another computer and this is when you could use your profile manager so just come over here and export a profile and you could email this profile to yourself and this would be all of your routing your you know vst plug-in presets your midi presets uh all of your key commands your macros so pretty much all the little things that you would customize and tweak your cubase system for yourself would be stored in a profile and then once you go to the new computer just import that profile but you know it's the third party plugins is could be the problem or it could be kind of the nuisance in the in that scenario uh but it's really you know if your program if your projects are all in their own unique folders you know then it's just moving that folder over to the new computer via drive or you know a cloud drive something like that so okay um so just seeing a comment from millard says he uses r24 to zoom also and he says i try to get three three green lights on input then when bringing the tracks into cubase i use audio process normalized to bring the tracks up there's also a slider for wave size so yeah so check the gain structure there um on your zoom but you should be able to get a healthy gain structure there i just see a comment ah robot voice on andrea so yeah i'm sorry i tried not to do it so okay um so you see a question i have no question how do we use quarter thanks a lot for helping us by the way you're welcome so a quarter is just a midi plug-in and what you could do is like let's say if you're not a great keyboard player you could come over here and just say okay i wanted to do uh and as we play i could play one midi note and it could trigger different chords for you so and so go through some of the different presets so let's say okay i wanted to do um you know maybe different jazz chords so let's say i'll just come here and i'm just hitting one midi note [Music] so if i wanted to actually just record that into my session uh at this point i could just click on the record icon for the quarter and as i just play one single note i could just [Music] and i'll just hit record that would help and so now as i so now once i recorded the enable record enabled the plugin itself on the midi input and now when i go to look at it it's as if i played all those cool chord progressions instead of just using one pinky so that's kind of gives you an idea how the quarter plug-in could work for you all right uh so i see greg how to save the settings for extra controls is default within very audio so i don't think there's a default way of doing it so you may have to just activate it but once you have i know a lot of people will have templates that they work with uh and then once you do that you could have the template stored uh and be able to work with the very audio with the full extensive controls and i think there might be a keyboard shortcut to kind of toggle back and forth between the two but i tend to work with all the all controls visible and i try to argue to get that to be the default and maybe i can express but i obviously didn't win so okay i see greg ondo is a religious figure i always consider myself an oompa loompa in a world of willy wonkas but thank you um okay okay and i see a comment from miller g's a very audio graduate course here so yeah and i there is a uh tutorial like i think when cubase 10 came out i did a dedicated maybe like a 10 minute tutorial just on uh very audio that will kind of walk through all the features so you could look for that on the uh i think the cubase 10 launch videos as well okay um so i see question uh greg why is it when i have separate recorded sections on a single track i can't seem to adjust the volume and so on in a single section even with range tool um so if we have uh let me just try to recreate this [Music] okay so let's say if i okay so generally if we i'll just make these all just a little closer okay so let's say i have these four different audio files um and generally as you hover over you could adjust kind of the clip gain of these now depending on the edits that you may have applied it could be that these have turned into parts so there's parts and events so if i come over here i'll say events to part so if i've now split these so let's say if i come here and i got rid of some of these different components all right so it could be now that when they're set as parts you don't have the control and when you double click you go into a part editor where you could adjust but if it's like this i would try to select the events and come over here and choose from the audio menu to dissolve part and then once you dissolve the part then you could adjust and have your fade handles so it could be that the edits that you've done in those particular parts have turned it uh are on those events have turned it into an audio part as opposed to an audio event so at that point uh select them and go to audio and choose to dissolve parts and i think you'll be able to get kind of all your fade handles and your clip gain handles back okay uh hi greg i think that the audio quality of a wave in the sampler track is worse than used directly in the audio track what do you think uh i think it sounds the same but you know as i take a audio file to the sampler track you know it's obviously going to be doing different processing so if i take this audio file and drop it in um you know if i play it back on you know and as you go down you know it's doing different pitch shifting and it's doing processing like any sampler does you know so uh but you know just make sure that when you do that but you know when you're you know if you want it as an audio track you could do that but you know you don't have the capability of being able to just simply trigger you know the sampler track itself and be able to manipulate it in a sample so you know if you go down an octave or up an octave you know you will hear a difference in the quality um and it's just because it's processing the audio like that so uh but if you didn't need that then you don't have to run you know i wouldn't find a need to you know actually run it in a sampler track so i see hi greg will there ever be a polyphonic very audio so you know i'm sure that it's been in discussion but you know we'll have to see a lot of times you know i think as you people have worked with the other polyphonic components that they've found it to be not as high quality as anticipated um so that's something to consider as well you know we tend not to be such a me too company but we wanted to actually you know it's like you know it doesn't you know something theoretically works and you know when you use it it doesn't work or it's not usable or just you know the process and quality is really bad we tend not to employ it for the sake of employing it so but you know those algorithms are only going to get better with time so i'm sure that you know thought has crossed people's mind okay good to see you on a hangout gill um hi greg high bass heads is there a way to change the tempo by one increment up and down mapping to a button on my controller uh example 120 121 122. so i think i understand a question let's go ahead and see if we could do it uh in the controller so so i'll just take a a project here and see if we get we may have to have a tempo track active but let's see if we could do that um jump to this project here thanks for all the wonderful questions if you haven't uh subscribed to the channel make sure you do that if you've learned something new or have liked what you've seen so far make sure you hit the like button on the video so it's always helpful for us all right so let's come over here revert this so let's say i have my tempo track on for 100 beats a minute so i know there's like a shift t i think where you could enter in tempo and let's say all right so let's say if i could just take the tempo track from maybe the project logical editor all right let me just see if i could all right let me look at my tempo track here let me look under key commands as well maybe so i know we could do different yeah i don't know where i know you could do the set tempo and let me just so if you come here to and i might be able to do it with a macro um but let me just see if i could find this quickly and you just keep looking for this all right so i know if you just did a shift t that you could enter in and but i don't know why to just kind of increment so if we're here i mean we could not using the keyboard controller but you could just you know using your tempo using your scroll wheel here and i know some controllers will allow you to kind of mimic mouse controllers but you could do that but i don't know way in the i could try oh look one other area but i could see if i can make a macro that could be triggered from um but let me look one other area maybe under generic remote so you could enter in the tempo there but you know just using the mouse scroll wheel to be able to act to increment and decrement that's the way i don't know with a uh with the midi controller but i'll play around with it some more if you want to email me at clubcubase at steinberg.de but thanks for the question sub403 hope you're doing well okay uh so we have a question from ted can you show how to use uh side chain to gate close or gate open basically mute or unmute another audio track okay so i think i have a project that's set up for this already all right so let's see [Music] all right so i have two different loops here and i have just a pad shop sound uh so i have just these pads they're being triggered from uh the pad shop so i will come here and look at um so i have i have like this pad that is going uh directly so i have this pad sound and pad shop [Music] so what i want to do is just to activate a side chain or a gate on this particular synth pad sound and i'm going to activate the side chain uh and now what i want to do is i could go to my kick drum and what we want to do is to send this kick drum out to the side chain of the gate here and i will just take this so now we'll have the kick doing the side chain input so we'll just have and now i could have more of that gate if i turn that off let's say i want it to have this function as the gate so this drum loop [Music] and you could automate kind of the differences between these two [Music] so i have this automated to gate between the kick and the drum loop [Music] but if i come here to the cent pad track and just turn off the cytane input [Music] so you can get like you know really if you want stuff to be very tight rhythmically to other parts without having to play it as tight if someone's not quite you know in the pocket you could just take an existing part that was a pad and then turn that and do the noise gate uh and activate the side chain there and feed it from multiple destinations and you come up with some really interesting effects like that okay so question uh can you compose midi track similar to dorko where you select note length play the keys and we'll automatically move to the next empty space in the score sheet certainly so let's go ahead and take a look how we could accomplish that all right so i'll just find let's i'll just put in a quick so i'm going to create just a blank uh part like so i'll come here let's go to my notation view i will put this into page view all right and i will come here let's zoom in i'm going to activate just this little icon here that's our step input i will set it to quarter notes and as i play in i'll play a chord [Music] yeah let's see [Music] so and that's really all you have to do is just kind of you know enable kind of like your step input and then if you just hit the if you want to put a rest in just hit the right arrow and say if you hit two nodes at once hit the left arrow and now i want to put in 16 or eighth notes i could select based on your quantized value so now i will just put in [Music] and that's kind of really all you have to do if you don't make any playing errors then i could say let's put in half notes [Music] and 16th notes or let's put in you know quartered eighth note triplets [Music] followed by a half note and you could have keyboard shortcuts for all of these and just be able to enter in your notes just like that so very similar to what you do in dorco you could do just make sure that you have this little s you'll see this looks like a staircase for step input so the steps that you see activate that and that's all you have to do it will automatically advance to the next rhythmic value okay uh so just reading comment from verner really appreciate my hangout chat jumped on me so let me just jump back sorry my chat field okay so we're back to where it was so from werner i really appreciate these hangouts been using cubase since 1988 yet i'm still picking up new tricks and tips here thank you still my go-to production software sydney guy living in sacramento thanks for the kind words so i'm glad you've been running cubase for all that time so uh it's that's wonderful and glad you still i yeah i think i learned new tips and tricks on every hangout as well so it's uh great so okay so we see paulie d's on a hangout okay okay so we just had a question uh a follow-up on the exporting hit points if i have a heavily cut up edited drum track it's really hard to export midi from every single slice if i bounce i have to set up hit points again is there a shortcut and it's further continued on i spent so much time setting hit points for some auto quantizing and then have to do it all over again after the bounce uh the final edit before i export uh midi for samples you know i i've done a lot of you know pretty extensive drum editing like this so you know i haven't really found you know the exporting you know generating the midi uh you know is pretty automated to me so let's just take a look at it again um so jump back here so let's say if i want to go you know directly to this event um you know the hit points you know so let's say i go to my snare and i just wanted to zoom in uh i will set my threshold up because i'm seeing a lot of uh you know different parts like the hi-hats toms and then just to be able to create midi slices seems that doesn't seem so arduous to me but you know maybe if you have you know 100 different tracks of drums i could see but you know it's not like you're doing the hit points manually um so you know i found you know just you know after a while you get a sense of what the threshold is going to be on uh you know different parts uh you get to see the patterns of tracks that are bleeding through like here we have the high hats and maybe some of the kicks bleeding through uh but you could just kind of set the amplitude uh accordingly and then just do the one create midi notes and then um you know it seems pretty straightforward to me but if you have like a really horrible example you'd like to share with me you know you could email me a download link at club cubase at steinberg dot d e okay and i'm just saying it's uh some continued discussion from scambot about latency for guitars uh and still having issues with the vocal mic you know one of the things to check scanbot is you know there's always going to be this uh constrained delay compensation so i realize that if when you're tracking with plugins that unless you have a dsp assisted audio interface like the steinberg ur mr series that you know anytime that you instantiate a plug-in it's going to cause latency so if you wanted to basically bypass plug-ins that are causing a lot of latency like when you're tracking you could click on this constrain delay compensation in the lower left hand corner and that will basically bypass uh plug-ins that are causing a lot of latency in your system so give that a try too um so to see question uh will cubase look to have step midi for drum mapping so for you know you could do drum parts via step entry already quite easily so if i just wanted to come here let's say if i go to the drum editor um so let me just i thought we so if i just wanted to come here to step input uh let's say if i wanted to activate my step input i may have to just let's say if we go to so i could just come right over here and as we enter in notes let me just you know so it's going to be handled kind of the same way with your step entry for drum parts let's see my cubases not misbehaving all right so all right so let me see if i could exit out of my cubase here quickly see if i do quick force quit on it okay bear with me just second all right i'm just going to reboot my computer really quick sometimes with obs running it'll do this so bear with me just for like two minutes and i'll get my computer rebooted and so just hang on for just second i'm just gonna restart all right i'm just going to check make sure you have audio back so bear with me just for like two minutes all right okay just getting my audio interfaces or slowly coming back to life here give me one second sorry my audio interface wasn't seen on on import so i think we're almost ready give me okay okay just gonna do a quick test here make sure we have audio going out okay just gonna just monitor make sure i have audio going out and then we'll get started here in just a second so i make sure i don't present for 20 minutes without audio okay all right so sorry about that all right so let's go back to our questions um so we see a question uh hi greg can i quickly swap the position at two events in a track for example drum fills which i might want to hear in different spots without having to drag reposition every time so if we want it to [Music] let's say if i have two different parts let's say like this and i wanted to reposition them what you could do is set the uh grid to events and then as i just move this one uh see if i move this one let me just or put it into shuffle mode so now as i move this one forward let's just go ahead and i'll change the color of one of these so it's a little more obvious so let's say i make this one red and this one blue so as soon as i drag this one over those two events will just kind of s uh shuffle between the two events so i move that to the back then the red is going to be in the front so check out the grid put it to shuffle and then just kind of uh swap the two like so so move it to the back then those two events will kind of just swap places so again change change the grid type to shuffle all right so let's go to the next question um [Music] okay so we see crystal coast north carolina checking in haven't missed anything uh just haven't been live all right so good to have you on a hangout uh question when exporting multiple stems is there a way to direct each stem to follow the entire signal path including uh master inserts so when we do the batch export here we could choose to just have uh our you know when we do our audio mix down here we could have all of our effect all the tracks exported separately if you wanted to include that with the effects but it's not going to include like the effects from you know the master of the master bus so if i come here i'm going gonna set up just a quick export here but you could do it through like a render in place so let's say if i wanted to come here and let's say on my master i wanted to have like uh do something horrible and obvious like maybe you know a flanger on the entire mix when i come here and let's say i just want to do these tracks uh and i will just come here to edit and i will choose to do a render in place so what i could do is just say i want to render settings and i want to include the whole signal path so at this point when i render those particular tracks and you do this for you could render multiple tracks easily with this and when we have our stereo out at this point [Music] you could just have everything just rendered so just choose to do a render in place and you could do that for you know multiple selected parts so if you just say i just wanted you know these you know you know these particular parts and render with all the effects uh you go to your render settings so under edit uh to render place and you just tell what you want to include so you could do by the tracks or individual parts so however you wanted to do it uh so question hi greg lisa from germany can you explain how to equalize the voice right please um so there's no perfect way to eq a voice i'm just gonna check something here real quick bear with me just a minute all right so i just got an email but i just want to make sure that the stream is playing back here uh looks like it's playing back on my computer just uh just going to check again just to make sure i'm going gonna check on another computer so i just got an email sent to me so i just want to make sure i'm not broadcasting with without all right so it seems like it's working okay if not send me a quick message and let me know if the audio is not working but i'll just wait a second and make sure that change i just did is going to reflect before moving on because one time i did like 20 minutes of a hangout okay so it looks like that's kind of working as expected just do okay so it looks like that's all kind of functioning all right okay sorry about that hang up all right so uh so about how to make the voice how to make the eq to voice right and this could be different for every project unfortunately um so some things that you could do to make a project stand out a bit more is just to make sure that it's going to be um you know i a lot of people i know will cut all low end for a particular track so let's say [Music] so i'll go ahead and look at this track here so i've rolled off low end [Music] i often kind of boost the frequencies and one of the things you could do is once if you know what the key of the song is that could be really essential so if i wanted to come here [Music] so here i'm in the key of uh a flat so when i go to my eq you know one of the things that you could do is actually just type in the frequency here so you could say i want to go to uh a flat five and that will take you to that particular frequency so you can kind of eq within the key of the song so let's say i wanted to be a flat 7. [Music] and that way you could you know because what you want to do is to accentuate frequencies probably that are related to the key of the song and the notes that are being sung um so if you do that um you should be able to you know that will help the eq quite a bit so you know making sure that you're eq and the right frequencies for the particular song so a the eq frequencies for a song in the key of d is going to be very different than eq frequencies for a song in the key of g or a so when you go to the frequency you know if you know what the key of the song is and just come over here and just type in you know a flat 3 and that will take you to that particular frequency range and at that point you could just you know adjust uh so that's one tip that i i could really give but you know i see some people try so hard you know to you know obviously if you could capture the you know the the vocal at the source that would be like a great way to do it uh but that's not always the most ideal situation uh you don't have that luxury if you're mixing but you know when you're you know if you figure out what the key is of the song you know use those particular frequency ranges and just type in a flat 70 flat 6 and see what that does for you as opposed to eq'ing kind of just a random frequency i see so many uh like colleges and kids coming out of colleges and they're like oh we have to eq this frequency because it works it's like you know what if the song's in a different key you know those frequencies probably won't make any sense or won't work you know if it's a different key you know oh i didn't think about that so you know just type in the note name here and experiment an eq based on the pitch of the actual song all right okay so let's go ahead um okay so we see alan checking in from uh new jersey always in the background so thanks for popping out in the foreground and saying hi alan glad to have you on a hangout uh so you just see my audio shows two lines instead of one can anyone tell me how to change that um [Music] so you know if you see two lines something kind of like this you know where you see two waveforms that would indicate that that file is in stereo versus uh if you see one waveform mono so make sure that as you're recording you know if it's the two waveforms that we see here on top of each other that would be like stereo that's the left and right channels uh and then you're gonna have the a mono channel directly here so those are some so i'm not sure if that that's the one or two lines that you're talking about okay so i just see uh hi greg is there any tutorial how to approach mixing music in surround setting in cubase uh i guess there would be too much questions for this hangout yeah and sometimes it's hard to do a surround video when uh as you're only listening to it in stereo uh but some of the things to you know there's different schools of thought and i've been fortunate to work a lot with different surround sound pioneers and the guys that you know like you know in the 90s that were doing like some amazing work you know like you know two of my favorite guys are uh for surround or elliot shiner uh i think his work is just stunning i remember hearing his mix of steely dan gaucho uh and sitting down for i think is babylon sisters and you're just listening to donald fagan's voice solo in the uh center channel and then all of a sudden when the uh horns and background singers come in during the course during the surround speakers but if you talk to all the different people that are doing surround work uh you realize that some people try to you know create a um more of a live ambience like if you're doing you know if you listen to uh chuck ainley's uh 5-1 remix of frampton comes alive or he's trying to recreate a concert experience you know that's a very different thing you know chuck and frank phil petty my friends uh they both did like wonderful concert stuff and elliot shiner did a wonderful job with like the eagles and fleetwood mac uh you know in five once around and uh but you know some some tips that you could do is you know make sure that you know you could have different reverbs in the back so when you go to add a you know if you have a 5 1 set up so you want to [Music] come over here and i i love mixing in 5.1 so um and a big proponent of it but once you have kind of let's say your connections here so let's say i have my outputs and i have my output bus here let me just add a 5 1 bus and you know now that i have a particular track i'll add audio tracker and send it out to my 5-1 out and once i have that done i'm just going to pop right over here and now when i go to double click we'll have our surround panner but the one thing that to make sure when you go to add effects is that you could have effects that work in 5.1 but you know we could add an effects channel track uh and then you could send it out to your five one out but your 5.1 out something that's handy is you may want to have like separate effects in your surround speakers versus what's going on so you could go to uh your five one out here and then you could uh if you select this we could also say let's add a child bus and we say our stereo lefts around writes around so when i go to add an effects channel track at this point uh we could have just a a plug-in that's gonna work only in the rear and right speakers or in the left and right surround speaker so i'm going to add an effects channel and i will choose it to go to my child bus and that way this reverb could be only in the back center so you may want to have like the vocal you know isolated dry in the center channel you may want to have left and right a little bit of reverb and maybe a slightly different reverb or ambience in the rear speakers so this way you could have your different effects uh throughout your 5.1 mix and you know elliot china i remember him telling me once it's like you know at some point you know he also did like you know bohemian rhapsody and queen's a night at the opera he remixed that in five one which is pretty stunning uh but you know and he's like at some point you have to make something you know swirl around the room to make someone feel good about having surround so you know for a particular effect but it's i wish i could spend more time but if you can't really hear it in surround as i go through it it's a little annoying to just describe it so but hopefully i'll give you some additional tips and some ideas so i just see a comment from jeff recently got absolute and love everything that's great uh so you see ace uh hi greg how can i clone an entire cubase 10.5 project and all of its subfolders waves edits sound pool etc to a new folder without it complaining it needs access info from previous original folder so you know what you could do is you know you could obviously just copy the folder if you wanted to and open up the project from there but you know another thing you do is just go to your file and choose backup project and what the backup project will allow you to do is it you'll be asked to define a new folder so just give it a beautiful name i will come here and hit open and then you'll have different uh options so you can give it a different name so if you want this to be archive or backup you could minimize the audio file so let's say if you uh you know had you know 400 extra vocal takes you know and or you're only using three seconds of a four minute recording if you choose to minimize the audio files it wouldn't copy over any audio files that aren't needed you could make all the direct offline processes permanent if you wanted to you could remove unused files and you could choose not to back up the video file and once you do that that will make kind of a perfect brand new fresh copy so i would do that so just go to your file to backup project and you should be all set okay and just saying comment this may be going about the latency for tracking vocals then just comment from gareth okay music sometimes i'll put a light compressor on the input just to tame some of the loudest parts but otherwise usually record dry with insert effects if a singer needs to hear them so that's good uh you know that's exactly what i would do so okay okay so seeing some our discussion about people's different hardware settings for latency uh so i see question from michael harvey is there any talk or consideration for adding a multi-channel audio warping list of things going into cubase 11 it's been mentioned a lot so uh we'll have to see what comes out in version 11. so okay i just see uh gareth k music does anybody have the axr4 so i have one so it's uh so it is you know and it's one of the cool things with the mic pres on the axr 4 is it does feature the rupert neve silk modeling so that's actually authorized by rupert neve and rupert neve designs themselves so all right all right just reading through different comments thanks for all the great discussion and again if you learned something new make sure you give a thumbs up all right so i just see a comment this may be with our earlier discussion uh do you have to do a lot of slicing and then volume adjustments when the proximity of the microphone is inconsistency or is inconsistent so yeah you know it depends on the part so you know if you're doing dialogue editing where maybe it's not the most ideal situation where you're doing lots of cleanup or forensic or what they call investigational audio now you know you may have to kind of go through different dialogue and as we showed earlier kind of you know splitting it and raising it to you know have a consistent level where compressor could work a little bit better to glue it together okay um so i just see why does the sound source always go back to default when while i reloading the project uh from kin um so i'm not sure if it's the audio interface uh but it you know maybe it's that's how it's kind of saved uh within the project so okay so i just see a comment from uh andy i know this is a cubase hangout but is uh will there be a halligan will there be any hallie and six hangouts i would like to get uh around robin working with the very groups uh if you want to send me an email um i could have it uh a project set up for the hangout on friday andy so um so if you want to just send me a quick email at uh you can send it to club cubase at steinberg dot d i may have to i don't want to spend 20 minutes kind of setting up a scenario for round robins but i know we could get it going pretty easily but i'm be helpful if i had some samples prepared for it but uh send that send that to me and i'll make a note to have that prepared for the next hangout okay uh can you explain direct routing in some detail so we kind of touched on this a little earlier and with direct routing is also really great for is doing you know the parallel processing so if i wanted to come to this and i'm just going to take my flanger off my drums because that seemed like such a good idea for showing that one feature okay so if i wanted to take the drums here and do you know different uh processing so i'm going to let's say i'll just boost all my drums volumes up here and now what i want to do is add two group tracks so i'll just right click and let's add a group track we're gonna make two stereo groups and what i want to do is so with our direct routing which we could access from kind of the larger mix console and racks and let me just hide my inputs for this [Music] so i'm gonna send all these to group one and to group two so i will hold down let me select all the channels all my drums [Music] so now all these will be routed to group one and if i turn on direct mode summing so this is useful if i wanted to have like different processing so let's say on my group two i wanted to have like really heavy squashed compression so now what i could do is just automate so i could send to that device [Music] so let's say i wanted to go back to group one and to group two [Music] so now if i choose to we'll just rewind a little bit here so we will have that those automated but if i wanted to combine those two i would put direct routing summing mode on from here and once we have that direct routing summing mode i could send to you know multiple destinations simultaneously so i'm going to come here and activate all of so now it's going to go to two different devices and let me just okay so now we could have a parallel process set up so we're going to activate both of the groups and we could have parallel processing so this is going out to this group and to this group at the same time [Music] so that's you know a lot of the great things that you could do is being able to send different devices different tracks to different groups with and dynamically within a mix and that's some of the advantages that you have of doing the uh direct uh routing options all right i'm back that glad to see that i am back to being la leche all right so happy about that okay uh can you explain a little about efficient use of quick controls okay so once we have quick controls set up we would go to your studio menu and we would go to our quick control settings under studio setup and what i want to do here is to go to my track quick control settings and here i've defined my input and output and i have eight sliders on my computer keyboard and i could do a learn and move a slider and that would capture that midi cc data so if i come here let's say i'm at 45 i move the slider out of my nectar panorama controller and that's going to be 40. so now i could go to my quick controls and for each of the tracks i could just say okay i wanted my kick track and there's different presets so i could say i want volume pan so uh as i come here i could take my quick control one is just my volume i can pan left and right with slider two i could also come over and have different settings for eq so i want to turn on eq1 and be able to adjust the eq accordingly or eq 2 3 and 4 or my sends level so as soon as i come here i could adjust you know my panning we could see just by hitting the same sliders on every track we could have these same quick controls set up so if i wanted this kick let's get to the snare and there's presets that you could make so let's say if i have a particular uh setting on a plug-in so let's say if i'm here i have my insert i could say let's go to uh let's say i have under distortion i have the vsd base amp on and i wanted this just to do let's say our gain so what i can do with my quick controls is i could click on learn and i could just move a parameter and then that parameter is assigned to quick control slot one so if i just want to come here and let's say i wanted this to be trouble to be quick control slot two i could stop i'll activate that slot have this learn turned on move that and now as i do this and that will just kind of control those different parameters so you could have quick controls also just kind of set up so you know if you wanted to define quick controls for any parameter as well you could say okay i wanted to go to my input filter and i wanted pre-gain i wanted to come here and on my inserts or this i want to get my vsd base amp and let's go to speaker and cabinet and i wanted mic type 1 to be on so you could define these and save them as presets so you could just simply call them up and have kind of complete control over those things so you have kind of the eight defined parameters and once those parameters are defined you have the ability to control any eight parameters very fast we're using quick controls okay so just saying a comment from jeff uh the command controller uh and then click is very handy everywhere to zero out and works in all plugins too it's great yeah so it's a really handy tip to know okay uh so we see question hey greg how do you take a track from one project and put it in another so there's a couple different ways one is if you wanted to take the track in all of its settings is just go to import tracks from project at this point you could say i wanted to go to this particular project i could select a track and just hit ok and that would automatically insert that particular track into this one hang on i have my son knocking on the door let me just uh see if he needs help really quick i'll be right back all right so sorry about that so that's one way is just doing the file import tracks from project um but you could also just kind of take audio from you know one project here and just like if you just want a a part you could say yeah i really like this part and i want that part into this project and just drag and drop as well so you got multiple projects open and drag and drop between them okay so we have a question hey greg is it possible to set move a phrase or a section of vocal to one note on very audio with a click on the keyboard so if you wanted to like drive the uh so let's say if you wanted to take uh to select the pitch from the keyboard um so if i'm understanding correctly so i will go to uh my very audio editor here and we'll do its analysis and so i will come over here and within the very audio you could also just say midi input so as i would select a particular note here so let's say [Music] all right that let's say if i activate midi input i could just come over here and [Music] just play my midi keyboard and change the pitch okay so and so that's and if i want to do that for multiple pitches i could just raise based just like that so make sure that you once you have the very audio open that you click on midi input and then you could just uh hit the keyboard and that will set the phrase or doing it just like that so okay so we see jay checking in hi greg sorry i'm late fantastic job you're doing thank you you don't have to apologize for being late it's not school you don't get a tardy so but we're glad to have you on a hangout jay okay so question how to filter a midi track to record only on a selected channel cleaning up each time with the logical editing editor is tiring hang on my son needs you one more time all right my son brought me a jelly bean that was nice of him okay um so how to filter midi track to record only on selected channel cleaning up uh each time so you know probably the easiest thing is to make sure your controllers and i'll just go to midi track and you can see on the input transformer we'll go to local and there's going to be presets for this we can say channel filtering so you can say pass channel one and that will filter out everything that's not on channel one so you want to make sure that that is active so again go to your input transformer you can set it to local or to global and one of the presets uh you'll have his channel filtering and then you could pass only that particular channel but make sure that this is turned on as well but you know if a lot of times when this happens is when midi controllers are set up for we get this lot with a stacked preset that's transmitting on eight midi channels and then all of a sudden you're recording you're transmitting eight midi channels so you know ideally if you have the controller set up to only transmit one midi channel then cubase could remap it but you could do it through the logical through the input transformer okay so just see question hi all since cubase 11 was asked for i'd rather see like to see some more frequent 10.5 updates for a while so there's a lot of updates that you know uh come after the you know the next generation is released as well so there's always stuff so okay so hello greg is there a way to assign a button on my controller to open the instrument of the selected track so we could come over here we could do is through the generic remote and we could say uh under generic remote so we say whatever midi message you want at top and what we want to do is probably a command and it may be under [Music] edit and i think it's going to be like edit vst instrument so this way you can say you know when i hit this controller and then it's gonna this midi message incoming midi message and make sure that you have these set appropriately this incoming midi message is going to automatically run a command in the edit category that is edit vst instrument so that way every time you do that you hit that button uh you can if as long as that transmits midi that would open up that command in cubase for you globally uh so i see um hi greg is it possible to start a specific instrument with a just for that command um so um you know you could the you could do a macro to start instruments but i'm not sure if this is referring maybe to a previous question that was in the past uh but um but you know you could do it for specific uh you know you could load up track presets with instruments but i'm not sure if you wanted to uh so starting a specific instrument um you know from a generic remote or if how you wanted to do that but it could be like where you could save a you know start a particular track preset okay so you see question hello do you also have tutorials for nuendo 10 you know yeah so we have there's lots of tutorials for new window 10 i've done a number of tutorials there's also uh you know everything that we see in cubase is also applicable to nuendo as well so um so everything you're seeing here is innuendo and just as applicable and if you have a specific uh nuendo question just feel free to ask you know we'll take any questions here uh so i see what's the difference with live mode so live mode is kind of looking trying to do as much looking ahead in the signal as possible and that minimizes the latency so it does take more processing power uh so that but it will kind of speed up the you know so you know the the trade-off is more processing power and the benefit is that if you're tracking with live mode like on a multi-band compressor um you know at that point you could you know so that you know so the benefit is you know the lower latency mode but it's also higher cpu okay so see jason says regarding logical editors say select onenote example c3 can you say value one unequal to c3 and all other notes are selected deleted etc you could do that so you could choose to um you could do it that way you could say no it's unequal to c3 um so and i'm not sure if this is getting back to the previous question we had about you know getting rid of all c's uh but a lot of times you could define uh like a c3 but if you wanted a c4 a c2 a c5 to not be affected if you wanted the pitch of c to not be affected that's why you could uh define the actual note okay okay so nice comment from millard brown got to say i really appreciate the level of knowledge and help from all here especially greg you're welcome we're just glad that i think this is a wonderful resource for people and appreciate everyone else who's able to help as well so i think it's really beneficial for our users uh and michael's telling people to whack the like button again so okay okay so it says uh from scanbot says thanks again greg if you had a beard you'd be the beard of cubase knowledge your insight in cubase is tremendous and goes a long ways and helping everyone learn aspects of cubase i'm just glad that i'm able to help so i probably just made more mistakes than other people have earlier so and get to share my experiences so it's glad to be able to help people realize their creativity okay yeah i never did try to grow the beard so even during pandemic okay we see gareth is going to feed his daughter she one time piped into the congress into the hangout tell us that dad needed to feed her so um uh so you see hi sorry for this question if it's totally non-sync uh but can you suggest best laptops to get for using cubase you know the macbook pro is a is a wonderful notebook you know there's some things are brilliant about it and some things are just incredibly annoying kind of like any machine um so i like that you could have 32 gigs of ram in it you know you uh the ability that you only have usb c ports is kind of a drag so you have to carry a lot of adapters around um i also i have an old music xpc and i7 windows laptop with 16 gigs of ram and i've had it almost seven years and that still runs great so i i found you know if you get some of the uh like you know if you check out i haven't explored a lot of uh like dells i've run hps in the past uh we were gonna be doing some exchanging and auditioning some dell hardware right before the pandemic but we uh but we were supposed to get together and that kind of fell through with the covid stuff but um you know i think any if you got like an i9 machine if you could do it with like 32 gigs of ram you're in great shape i know teddy riley uh last time i was at his studio he has because he's always kind of tweaking out laptops and i think he had like an asus laptop an i9 and he had like you know a bunch of different drives and it was a beast of a laptop um so but you know if you get like an i9 with 32 gigs of ram and a terabyte ssd if you could find one with um you know with thunderbolt that's helpful too that gives you a lot of options in the usbc port so okay so i see question from jason uh our profile stored on the license key so currently the license key only stores the license that a profile is just a file that you could email or put on like a google drive or something like a cloud service as well that you could do quite easily so but it's not actually stored on the license key just the memories and seeing miller just mentioning says you know uh for windows i7 16 gigabytes memory usb 3 those are all great things to be looking for okay and miller likes hp and lenovo so i've used hp laptops a lot in the past so had great luck with them [Music] okay okay so uh says how to warp like ableton and use the media bay i have many samples like more than 100 gigs and whenever i import it from favorites it's pitch and tempo or wrong how can i make it like ableton so i'm not familiar with ableton but let's go ahead and just kind of start a particular project [Music] so i'll just do a new project here okay so let's say i just want to start with uh some different beats [Music] okay so let's say i just want to drag that in um so now if i just place this into musical mode it's going to automatically just kind of i will take this and let's just and let's say i just want to speed up the tempo here let's say it's going to be 140. and then you get a line beat so say i just wanted to kind of come right over here and say i wanted to find the arpeggios and as just kind of drag that in uh i'll just make a copy of that so i'm just gonna drag [Music] do [Music] [Music] so stuff like this that you could just kind of automatically place them all in musical mode so stuff like that you could do quite easily kind of and you know once it's in musical mode it's automatically just going to follow whatever tempo you throw at it so [Music] [Music] so just kind of give you a quick idea some stuff you could do so i don't think it's that hard to work with and we have people you know have you know terabytes of samples and loops okay um so c from tam name mandel mandel uh in combined selection tools how to range selection tool activation area is small you know it could just start from the top you know if you have you know something like this uh it could be hard to do the selection but if you you know have a part you know once you're you know in the combined modes you just kind of start from the top for the selection and start from for the range tool rather and start from the bottom uh for object selection so this way you could just say okay i just want to select this range from the top or i wanted to select those events from the bottom but you know realize that if the event that you're starting with is super small in height that you know it's like having a strike zone on a you know someone who's incredibly short i would imagine as a pitcher you know so you just have to kind of maybe give it a little more space uh to initially start all right so we had some questions that were sent in let me get to some of those thanks for all the wonderful questions if you uh have learned something new make sure to hit the like button and subscribe to the channel if you haven't done that okay so um okay so this question uh how can i quantize a full old song from 1978 is there a tool in cubase to flatten it flatten it temporary doesn't work well or maybe i don't understand how it works um so this is i think dealing with a audio file so you're gonna take a whole song and kind of regulate the tempo where maybe it was speeding up and slowing down so let's take a look at that i will see if i okay so we have an example track here so say there's no correlation in the tempo to what's going on musically so what i want to do is select the file go to my project to tempo and we'll say analyze and then i want to just [Music] so we've done a tempo detection of the event it's figured out what the tempo is i'm going to and it does this it figures out what the beats are and it's going to give us a time signature of uh 1 4 and what i need to do is to just come over here and define where the downbeat is now as we look at this particular file [Music] we can see that there's basically tempo changes on every single beat of that particular track and so if i wanted this to instead of having these crazy tempo changes i wanted this to be perfectly steady i would go to my audio menu to advanced and then at this point i would choose to set definition from tempo and what this is going to do is embed these tempo changes of every single beat into this particular file so we're probably about 144 so what i'm going to do now is turn off this and say i want to be a perfect 144 beats a minute and that's kind of a rough ballpark and as i just wanted to type in now it's going to play back perfectly at 144 bpm if i want to be 120 so we can see the original tempo here and our actual tempo that's playing back so if i want to be 156 maybe a little faster 148 so it's basically and you can do this on a multi-track as well so now it's perfectly steady tempo of the music [Music] so once again once you've done the tempo detection go to your audio menu to advanced and then you want to set definition from tempo okay so we got a number of messages from ben says um after fighting with a mid 2015 macbook pro and catalina and overheating and kernel panics i'm setting in with a 3.2 gigahertz 32 gigabyte mini and sticking with mojave works like charm except i'm losing control of my ur24 my ur242 uh cubase sees audio from a mic plugged in even though the volume control is turned all the way to off uh where is the operator error please so i'll try to and this is from uh ben daub from toronto um so i'll try to email you i know you had you sent a lot of different uh updates with this um but it's you know some of the mics will you know be able to pass you know depending on the gain structure of the mic you know you may not need the added gain of the r22 for it to see signal so if you have a line level signal going in you know you will see signal despite you know the volume being down so that's just kind of like a mic pre volume you know and if you have something like you know like a mic that has a low output volume something like a maybe a sure sm7b you know that you'd probably have to crank up but depending upon your actual mic that you're using that may uh you know mainly have enough output where you don't need to have uh the mic the you know the mic pre enabled to see the signal so that's fine to see signal without the mic uh gain up uh and i think we got some i got some questions from taylor who i emailed earlier where he sent me some youtube videos but they uh they were private so i wasn't able to see those so hopefully taylor if you if you're still on a hangout maybe you could still uh make it so that those are available for me to see okay so um so we see hi greg thanks for replying to my question at the last hangout regarding uh non-working steinberg instruments unfortunately you misread my question my problem is with the standalone versions of the instruments and this was getting uh like the midi going on different standalone instruments like hallian the grand so let me just open one up here so i think we'll have um [Music] so let's say if i wanted to go to hallean6 here i'll open this up in standalone mode not as a plug-in and i'll just run it through a different audio interface just so um [Music] because this one's being used so i'm gonna choose uh i'll just load up a particular sound and i'm going to go to my preferences and what i want to do is to route this to let's say my usb audio codec all right and and then for midi um you know we could say all midi inputs but i can see my panorama now let me just try with the and then i'll just choose the interface there and now [Music] but just kind of you know coming directly here to let's say the plug-in preferences so make sure that you have this set so you say okay i want my usb uh audio codec i wanted to keep that i wanted to have the outputs defined let's say you know from left and right and you know so if you click here on the little settings but then that's just kind of going through my little desktop speakers uh you may hear it on the microphone but and if i wanted to switch that to let's say the same audio interface that you guys could hear i'll get to the azure driver and switch it to this and now i will just get to the not connected here and we'll so it seems like the instruments kind of work as expected but maybe come over here and go to the preferences and make sure that you have the output set here and see if that makes a difference for you but i tried the other instruments and they all kind of worked the same way all right so let's move on okay okay so uh says um i have a question i've been trying to unsuccessfully create a custom macro that will give me control of a pitch envelope on specific regions as clean as on logic so let's say what they want to do is like a type of pitch envelope change so uh when i come here i think i had this set up so let's say i have an audio file here okay so say i'll just kind of play this so let's say that last note i just want to do like a pitch drive like a pitch kind of effect i would just kind of select you know we could do it a couple different ways but an easy way is to just uh i set up a key command um just to come over here and under processes so under processes and you could just open up the pitch shift i think i did like command option p command option shift p so at this point i could just hit um that and i have just like a quick pitch drop like this and i didn't have it set to time correction so i selected just a range of it and now it's automatically been applied just by hitting that key keyboard shortcut so [Music] so that way you could just and once you have this set up that those settings will automatically change so if i wanted to undo that um i'll just delete that process again so we listen to it so and again just coming right over here hitting that keyboard shortcut so once that range is selected [Music] and you could set that for more semitones if you wanted to so we say okay i want that to be 12 and now as we [Music] you know so i you know i watched the video that you had sent as a reference i think that kind of works the same way so you know there's different uh you know algorithms that you could use but you know definitely try just a quick pitch shift and you know that way you could just have one keyboard shortcut you don't have to you know select the range fire up that one keyboard shortcut and if you do that type of effect a lot you know you could just keep that uh set and be able to do that very fast so all right so i think that was from gil who was on the hangout earlier so hopefully he's still on um okay so get this question uh hi greg could you tell us why cubase use of memory shows in such high percentage i use a mac and a program called stats so when nothing is going on the use is 200 to 300 percent when a session is bigger can go up to 1500 i believe it's the processor use but i'm not sure on top of it while i have the chance after upgrading cubase 10.5 some of my key shortcuts no longer work and if they show up in the key commands list in particular the keystroke i have for tempo input shift t thank you um so i you know i'm not familiar with the programmed stats to um you know but it seems like those numbers don't make any sense um but you could pull up probably the activity monitor may give you more of an indication and sometimes the activity monitor doesn't show scaling and it also doesn't have the effect of you know running at a low you know adjusting the buffer size of your audio interface as far as the key command you know when i go to hit shift t myself you know that goes straight by default to the tempos so uh just make sure that you have that defined in the key commands and you could just uh select right here and hit shift t at that point you know you say transport enter tempo and make sure that that assignment is there um and you should be all set but by default you know if it's not set up you could reset it or maybe it's being used for you know more than one particular function so all right so i'm going to go back to our live feed thanks everyone for sending in questions in advance and if you want to submit questions in advance for future hangouts please feel free to reach out to club cubase at steinberg dot d e um okay so let's move on okay so we see uh question is steinberg yamaha company so yes steinberg uh was acquired by yamaha in uh it was announced december 2004 uh and so since january 2005 is when uh steinberg was officially acquired when the deal was done was actually handled at the namm show which is a big industry trade show for music industry uh that happens in january in uh anaheim california yeah so it's kind of interesting i went in as a pinnacle employee during the show and was turned into a yamaha employee at the end of the show so i was able to kind of transition so i've been with yamaha for over 15 years and steinberg for over 28 at this point okay so but yeah we're in you know but steinberg is part of the yamaha family as is line six and ampeg and nexo speakers and uh bozendorfer pianos those are all kind of yamaha brands at this point um so i just see a question is there any way to quick key instruments um so i'm not sure what you mean by quick key there's quick controls for the instruments so if you have an instrument track you know you could have your quick controls for various uh instruments and various settings that you'll see here so if i wanted to come here we could see our quick controls that could be configured um but i'm not sure what the quick key instruments what you mean by that so maybe if you could reiterate okay let's see how we're doing on time so we're doing pretty well i was like 20 seconds over the last one and we lost our uh automatic closed captioning so i'm gonna try to not do that today okay okay my chat jump so let me just jump back thanks for all the wonderful questions okay so i think i'm back to where i was see comment from gareth i hope the export options for scoresheets will be improved in version 11. so we'll have to see what happens okay sub 403 telling everyone to hit the like button um see a comment from a lead on a beat hard to believe greg learns anything new from cubase he practically has it all memorized inside and out lol so yeah i learned something new every hangout um you know or just think about a different approach to things so okay so i see jeff uh saying he's been using cubase since before sx [Music] um okay just going through comments um okay you could see sir robert on a hangout from atlanta um okay so uh hi greg is there an option to transpose a complete chord track instead of doing manually one chord at a time so we thought that would be a bummer as well so we'll show you a trick so this has a chord track in it so if i have a chord tracker i'm just going to hold down the shift key and double click and that will select all the chords we could go to the root key and then just using my mouse scroll wheel we could go up or down [Music] and transpose just like that so make this a little larger so maybe easier to see so just grab the root key and using the mouse scroll wheel just go up and down and that's how you could transpose all the chords without having to do it once at a time i see a comment for agent k typing the note and eq is amazing it's a super great trick so love that um and as rob sir robert says well worth the price of admission okay i see a best example for real dts around was alan parsons on air tried to hear it with a real 5-1 home cinema system yeah allen is also wonderful stuff and he's a big cubase nut and also he's really into wave lab as well so he's done great stuff and i think it was his quad version of dark side of the moon that inspired everyone to to really get into all the um more you know extensive surround you know 15 20 years later um so see is there any possibility to start a specific vst instrument with just one key command so i don't know a way to start um with just a particular key to load up let's say this instrument but i'll see if i could come up with a macro to maybe come up with something but track presets as jazz dude noticed um are also pretty helpful for that um so question again so is there a way to export stems with the master effects on them so using the render in place that would do it for you we showed it a little bit earlier okay okay so hi greg when using a chord track midi or instrument tracks that have no midi data seem to play chords following the chord track i don't want this to happen what am i doing wrong so when you have the chord track you probably um you know you could you probably may have it set to use monitored tracks so if you have like a a midi part here and that track is set to be record enabled or to monitor you could do that but on the core track itself you could basically um you know when you come here try to just turn off acoustic feedback uh but it could be that those tracks are armed or that they're set to record but try just turning off acoustic feedback here and that should stop it uh it's a question why the multi-outputs of a vsti don't appear as tracks but as buses only so you know there are buses from the instrument so the tracks themselves may not have we could think of the tracks as having the data in them but you know when we send that data to an output bus you know to an output that's when it's going to be kind of an output bus if that makes sense so that's why that's there's that distinction with multi uh outs and if you're wondering why you know once you start activating we'll do this on a new project why you don't see them is because they will probably get hidden into a folder so i'll just do uh let's add an instrument track and let's say with groov agent se i will come here um so we do that and now when i start to add outputs so let's activate outputs that will now see them um you know so we'll just see that there so they will often get placed directly into a particular folder so okay just reading through comments and we'll wrap up here in just a minute or two thanks for all the great questions i hope someone everyone has learned something so we're two likes away from 100 so see if we can you know if you haven't liked the video and you learned a new tip or trick or were inspired please feel free to hit the like button and if you haven't subscribed to the channel make sure you do that as well okay so uh so when i recorded midi with the keyboard data has come delayed in advance i don't have the issue with other daws so you know this could be and i uh sent you a link uh this is from doley smarty or uh the username says uh maybe do mini ono from cameroon so i sent you a link on the hangout from last friday that might help but if you have different plugins try to make sure that you have the constrained delay compensation uh try toggling that and see if that makes a difference for you as well but i sent you a link with some other things that you could look up okay uh hi greg learned a bunch of cool tricks today example parallel group craziness drum track i opened a month old project and control room isn't responding should i engage in new user profiles i don't think you need to do that but you know just check when you go to the studios that you know if you don't you know it could be that maybe the control room is just turned off so make sure that it's turned on uh and then that the routing is set so sometimes if you turn on your interface and turn on your computer the interface wasn't there you may have to just kind of reset the routing and i think you should be able to do that uh so question is it possible to trigger more than one command with a single key command so you could have multiple key commands multiple functions with the same key command but realize that it may you know inadvertently do something in the background like you may want to do function a when you're here in function b when you're in this editor but realize that function a could still be triggered uh and if you wanted to execute a series of commands you could make what's called a macro so once you go to your key commands here and if you say okay i really want to do these five steps over and over again at this point we could choose to say okay i want to you know copy and lower volume at this point we could just uh you know execute a macro which should just do a series of key commands for you [Music] okay okay so um [Music] so let's just see let's see uh i'm so i'm probably running right about out of time so i see there's more questions um so it's that i probably won't have a chance to go through but i want to thank everyone for all the wonderful questions if you've learned something new uh make sure you hit the like button make sure you subscribe to the channel we'll be doing another hangout this friday starting at 1 p.m u.s eastern time so the same time as this one started i want to wish everyone a good health and make sure that you stay safe and healthy and we will see everyone on friday if you want to send questions again in advance send it to club cubase at steinberg dot d e thank you so much and look forward to seeing you guys on friday and let your friends know and we'll be able to do more of these hangouts in the future thank you so much goodbye

Channel: Cubase

Views: 7,233

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: Zt11AjqkaXA

Length: 236min 14sec (14174 seconds)

Published: Tue Sep 01 2020