November 16th 2021 Club Cubase Live Stream

hello welcome to the uh november 16 2021 club cubase live stream i'm gonna do a quick audio test and we'll get started here in just a minute hello welcome to okay everything in the audio sounds okay on my monitoring computer my name is greg undo i'll be the host for the live stream today uh if you have not attended a live stream before you could how it works is we can we'll ask any questions that you want asked you you could just send them in advance to club cubase at steinberg dot d e or if you want to just simply enter them in the chat field we'll try to go through each of the questions as completely and as succinctly as possible uh so uh when asking questions if you could specify which version of cubase that you're using whether it's elements artist or pro which level uh which version uh so if you're running you know 10 10.5 or 11 and which operating system that information will be helpful um my ability to answer questions in real time uh will soon get lost uh so if we could try to avoid asking the same question uh repeatedly if you don't see an immediate response i will try to get through as many of the questions as possible we'll try to go for about four hours today we will have an index of all of the different topics uh with timestamps covered in today's live stream that will be pinned to the top of the comments field so you could look for that and if you wanted to search for previous live stream topics you could go to cubaseindex.com which is uh put together by john from stockholm so we want to give a special thanks to yon for having that wonderful resource of information where you could kind of just type in anything and it searches for over 14 000 questions that have been covered in live streams i also want to give special thanks to agent k and jazz dude who do moderation for the live stream they're not steinberg employees they just kind of do this out of the goodness of their hearts to help the community so so we want to give special thanks to that and also point out another wonderful resource of information is the cubase nation discord and i know jazz dude does a lot of work to make sure that uh relevant information to our community is compiled there so special thanks to him for that all right with that um and once again my name is greg undo i work for yamaha corporation of america as a product specialist um you know primarily focusing on steinberg products and i will be the host i am presenting from united states outside of washington dc area in alexandria virginia so if you're watching the live stream live please feel free to introduce yourself and tell us who you are i was able to catch a couple questions that disappeared before the live stream started so we'll go ahead and get some of those and get back to the rest of our questions um so let's go ahead and start so just see uh using the loudness meter on the stereo out channel can you explain how to trim the true peak of value to minus 1 db tp uh while keeping the lofts at around minus uh luffs um hope this question makes sense you know so they are going to be two different meter scales you know so when we want to look at uh let's say our metering for this particular project so let's say if i wanted to push my meter here so this would be kind of our we could think of this more as like we're looking at our digital scale we could switch this to different scales but this will be in dbs and when we go to our loudness we could see this is kind of being our loudness unit levels so you may not you know these are going to be based on kind of two different scales so you may not um you know say okay if i get it you know perfect for uh my db loudness of minus 1 0 or minus 1 that that may not equate to the loudness unit that we're seeing here so um so there's often not like a magic button to automatically take that now if you want it if you're taking your mix and delivering it to you know different formats one way to make sure that it's actually uh you know going to different formats at the correct level a really handy thing is if you just go to audio to processes and just choose to normalize that you could choose to normalize via the peak level in db or in loudness units so at this point you could just say i wanted to take the base and or take my mixdown file and deliver it at minus 14. i wanted my peaks to be at minus one and those maybe two different levels and that's just kind of depending on what you need to deliver it for but you know and you may notice that you know sometimes just changing their you know changing the eq's in particular tracks may you know make changes in what the levels are and something else that you could do is just come over here quickly just just to select your audio mixdown file and go to audio to statistics and this will kind of give you an idea when it does an analysis that you could actually see your loudness and your peak levels here as well but the two may be different and that would be totally you know expected you know ideally we'd want to have them be optimum for both but you know there's a reason that uh you know both of those particular functions and why those levels are kind of you know being used so there's not necessarily a direct correlation between those two so all right we have fred corey kong i'll give him a call after the live stream all right um so we see a question does cubase have the ability to do a to do crossfade pre-cut and post cut like other programs so let's say if i come over here i could just let's say i cut and i wanted to do a cross fade between these two all we'd have to do is just hit x and if we kind of zoom in we could see that the crossfade has been applied before the cut because our cut is right here and it's applied to crossfade before and after if we do a cut you know and we wanted to have the crossfade actually you know be a specific amount of range i could actually use my range selection tool and then just hit x and then we could set the amount of the crossfade length between two different uh you know before and after to cut just like that but just by hitting the letter x so give that a try all right so we see a question uh cubase has three options for metering uh when i when would i use them when tracking and mixing so a lot of times people when we look at our different metering options so we could choose to look at like input meters as well as post fader and post panner so let's uh i'll just create a audio track here all right and i'm just gonna put a i'm gonna route this to nowhere because i'm gonna put a quick test tone on my track here all right so let's say i'm going to have uh my meter here at minus 12 db okay so if i have my metering type my metering point here set to um [Music] input you know we could actually see kind of what the uh actual tracks are and i don't have any like just um [Music] so if i was playing back a particular track like with the bass i could see at this point that regardless of where my fader is we're seeing kind of the input level of the track of the recorded track indicate there so a lot of people when they first started mix may start with input metering just to kind of get a sense of where the levels were recorded at and now if i set it to post fader we can see that as i adjust the levels here we'll have that correlate of just the level of what the meter is doing to the particular track so if i bring this all the way down we'll see that meter reflect that change or if i bring it up we'll see that reflected and it's not just metering just the input signal so as you may get started with a mix some people would switch to that and as we you know get into more of you know if i want to be post panner you know if we're doing especially with stereo tracks so as i adjust my panning here i could say okay we're going to pan this to the right i would see the panning reflected in the metering as well so sometimes people may start with input metering when kind of getting a sense of what the levels are especially if you didn't track a project if you're just mixing and then may switch to post panner and post fader as the mix process continues on all right so we have a question uh can you walk through uh this um can you walk through the signal chain and uh routing path from input all the way to the 2buss so it's going to be pretty graphically laid out from left to right on the uh channel strip so if we click on the e of the channel strip so here we could have there are in we could have uh we'll have our input source coming and so we have the track play we could have it go through inserts and then the channel strip so let's say if i activate it a number of channel strip options now if we wanted the channel strip to actually uh come in the signal flow before the inserts we could at this point we'll see this little option here uh and then we could have the channel strip come before the inserts or the inserts come before the channel strip so we could toggle which of those signals comes in first and then within the channel strip we could have you know like our noise gate compressor eq we could have tools which is an envelope shaper or de-esser tape saturation maximizer and we can see that we'll have our eq represented here we have our full channel eq and as we adjust the eq at this point um we could change the signal flow within the particular channel strip here so if i wanted to have the eq come before the compressor we could have that set up now something that isn't visually correlated with the actual signal flows when we click on the equalizer we could have the channel pre-section so here we could have uh like a low cut and high cut filter we could increase gain and flip uh the phase and that would allow us to actually come before the inserts from there we could go to our sends so if we wanted to send it to a group to an effects channel and then we're going to have our cue sends and then directly to our channel output that could feed either the groups or directly to the stereo output the two the two track bus so that's kind of the signal flow there all right so let me get back to sorry it's my monitoring computer sorry just going back to our live chat okay um all right so we have a question uh hey greg if you load a kit pattern from groove agent and hit for example the c note the loop place you're going to kick your load uh where can i find the midi notes in samples who are played from that kit okay so if we i'll just come over here i think we have a groove agent instance here i will load up my instrument okay so if we have like groove agent se5 we can have our pattern pads as well as our instrument pads so if i just wanted to click on let's say a pattern pad at this point i could look at the instrument and visually see which notes are being played in that particular pattern so i can see this hi-hat it's using this snare this kick and then you may have additional sounds here that are in and we could just kind of look at the different banks but if i wanted to see we can see our hi-hat there and once we see these little flashing lights that indicates that a particular note is being utilized within that pattern if you want it to see a little if you want to see it graphically to make sure you're not missing anything you could just simply drag the pattern to the timeline and at this point we could say okay i just wanted to see all of the particular drum patterns and i could see all of the notes here and if you wanted to also just you could say i just want to show drum sounds with the events and this would show us only all of the events that actually have so if you wanted to just that have particular notes in from that pattern so if you want to just you know drag the pattern to the instrument if you if you don't think that you're maybe seeing everything directly from the pattern playback when clicking on the instrument pad then you could drag that pattern to the project window and look at what notes are contained within that particular pattern all right so we see mark raven's gonna be in and out of live stream today from montana all right so we have uno memento from finland all right so we have brian sawyer from beulahville north carolina thanks for joining us being part of the live stream today and great to see cubase drunky and matthew elston from london we have dave in wales all right so we have gabriel joining and we see yon from cubase index all right so we have a question from dallas larue who i believe is from las vegas uh there was a thing on my old vs 6vs1680 called optimize where you could clean up your hard drive and get rid of the trash is there a safe way to do that in cubase so one of the things that you could do you know and sometimes you would see that in older hard disk records because they didn't necessarily have a traditional computer's operating system uh but if you wanted to clean up kind of you know performances or audio parts that were in the project that aren't being used in a project that were but maybe were recorded if you go to the pool window here we can just say you'll see remove unused media and then once you do that we could remove it from the pool or we could just put it into the trash can so we could just say okay now if you go to the trash can you could if i had unused media that it would automatically show up there and then you could right click and remove from trash so if you wanted to do that you could just simply do that very easily within the pool it'll give you a two-step process in case you make a mistake that is the end of the world all right so we see uh could you talk question could you talk about transpose and audio file key for example a minor to f so a lot of times we could transpose the audio but maybe not necessarily within the key so we can't necessarily say okay take something that's uh aim uh you know a major to a minor and if it's like piano it's not going to you know take uh you know the c sharps in the a chord to c naturals but we can just kind of if i wanted to take a particular file we can transpose down by uh semitones so let's say i take the base here all you have to do is select it and then i could just transpose [Music] so right from the transpose so say i want to go an octave higher [Music] so at that point we could just you know click on transpose right here and if we wanted to do this kind of globally you know there is the capability of doing a transpose track where we could just say you know at this point i want all the tracks to you know go up a major second and then to go back to its original key um with midi information we have the capability of you know doing you know transpose that would be scale based so if i wanted to come here um you know for midi parts i could over to midi and say let's go to the transpose setup and here we could do okay you know my new scale um the current scale is you know a and then i wanted to go to you know f melodic minor and then we could at this point just choose uh for all the midi data but for audio it's going to be kind of mostly kind of by by semitone and not necessarily changing chords within the audio track all right great to see sauron from sweden on the live stream all right we have tiago from brazil thanks for being here all right and we have lawrence from rhode island great to see you on the live stream lawrence all right and we have the cube checking in from melbourne florida and we have trance 20 20 20 from berkshire uk and we have rick france from oregon jason sykes checking in from uh hotel in manchester he's on a work trip all right so we have jesse carmichael he'll be our celebrity attendee today for checking in from los angeles you could google jesse great to see you on the live stream hope you're well all right so we see uh ishay from israel producing music for commercials is working on cuba since version 32. all right it's great thanks for being here all right so we have a question from matt elliston um hi greg is there a way to make cubase 11 pro automatically not add midi inputs as all by default in the inspector please many thanks in advance matt so you know by default i think it i don't know of a way to do that but if you want it in particular um you know if you wanted like the midi track to just go to a particular port you know it will default to all midi inputs just because it tends to be a lot less confusing but if we come over here to your studio setup and we go to the midi port setup if you wanted particular channels to not be a part of the in all midi input ports um you could just uncheck directly here so if you only want one particular controller to be doing this so that you're perhaps your midi controller like a that's transmitting over mackie protocol um does not play notes when you hit you know different one you like different buttons like transports you could just simply come here and take the in all midi inputs off for all the ports except for your one keyboard basically default to uh the midi input port to be all midi inputs just to make it easier for um for midi to communicate into the system but i'll pass that along all right great see tim weinheimer on the live stream from mission viejo and we have john costigan from kenosha i don't think there's anything going on kenosha this week john so i hope everything is will be safe for everyone in kenosha with whatever happens um all right so i just see uh hey from cambridgeshire uk question uh could you show us what your mastering chain looks like um so i generally don't have a particular mastering chain let me see if i could uh [Music] i'll open up kind of a project i got from my friend sal pelayez uh but and i think he has kind of a maybe a mastering chain on his that we could look at that might give you an example i tend to try to get it sounding really good without utilizing a mastering chain for the mix and like when i do mastering then i'll kind of use mastering chain but i'll just take a look at this project i got from a friend uh incredibly talented guy so but his um his mastering chain was just a multi-band compressor and this is probably before some of the plugins were in so i also have a studio eq [Music] stereo enhancer and then uh maximizer so this is you know just kind of we could play this project here kind of with the master chain on or off so let's come over here so let's say i'll just kind of take [Music] and then we'll turn the master [Music] now so i would say that that could be a pretty typical like master chain you know i try to avoid kind of mixing of making kind of mixing decisions based on like mastering you based on mixing into the plug-in uh so you know some people are really successful at it and are very accustomed to it i you know maybe it's just i'm could be a bit more traditional in my approach but i'll try to make everything sound uh really good by itself and then you know hopefully not need a huge mastering chain so all right so we have michael teams from weatherford texas on the live stream so he's going to start delivering the virtual ice cream for all club cubase attendees always appreciate it all right so we see a question help having an issue where cubase all of a sudden stops passing audio to my uad apollo interface i have to create a new file to get my audio back meters show fine but no output tried the usual fixes um so one thing i'm not sure if it's uh if it's a usb interface or if it's uh like thunderbolt but one thing to check if it's a usb interface um often one of the things that can cause issues like that is when um you'll see it on if we go to the studio setup uh and then if you go to the audio system and if you're on the windows platform we're not sure if you're on windows or mac um but make sure that one of the things is that you have on windows platform i believe under the advanced options you'll have this little thing that says uh you know activate or utilize steinberg audio power scheme make sure that that is checked a lot of times what happens with different uh usb ports is they can sometimes be throttled you know where basically they get slowed down to save on cpu consumption you know especially with laptops where you know they're one of their big priorities and one of their big metrics is you know battery life versus how much cpu usage that they're doing and they could get longer battery life kind of choking your cpu so that's one thing that i would check if you haven't done that but if you give us a little more information if it's usb if it's uh you know if it's gonna be uh thunderbolt or mac or pc that would be helpful all right and michael teams wants people to hit the like button so if you do learn something uh throughout the live stream just um you know just make sure that you do hit the like button all right so i just see from joe asked a question about the crossfades earlier so there's no way to set pre-cut cross fade like other programs so i'm not i'm not sure if you need to set the amount of the crossfade but you know it does it for you automatically i mean often you want the crossfade to be short but if you get maybe give some more information how the r program does it that would be helpful all right so uh we have juha from finland checking in let me know if i pronounce your name incorrectly i apologize if i do alright we see randy lee in the live stream okay so we have a question uh how do you set up artists to hear themselves in the headset such that they can hear a mixed vocal including uh auto-tune etc so generally if you're tracking you know it's like some plugins will have latency that could be a bit uh offsetting for a vocalist but you know the one thing that you want to do uh is you know make sure that when you come over here and you go to your studio menu to studio setup and you select the audio interface that you go to the control panel uh and when we go to the control panel here um what we could do is you'll see just a little setting here for direct monitoring so if you have direct monitoring depending upon your uh audio interface this will often take the signal directly from the input and pass it to the output so that we could monitor without latency uh and how it does as it basically takes the signal straight from the input routes it directly to the output and not through the mix engine that's going on and the effects that are being introduced by the software so if you have direct monitoring turned on you're not going to hear the effects as you're recording so first thing i would do is just make sure that you have direct monitoring turned off and then you should be able to monitor with the effects as you're tracking uh so we see uh hi greg can you tell us something about cubase 12 what and what new awaits us are there big changes in the program i can't really share any information uh because i'm under probably a non-disclosure agreement so i'm not really able to share so some of the things that i did see from matthias kelman on the steinberg forums is you know uh it will have the new licensing system and that it will be uh mac uh for m1 native uh so those are two of the things but that's the only thing that's been kind of publicly announced so and i i really probably won't be able to share anything until it's actually released but there'll be a lot of great features i'm sure all right so we see a question from tiago um is there a is there a versioning option inside cubase where i can write notes for every change i make and save save version does not indicate changes were made in a clear manner so the one thing that you could do so there isn't a versioning system we have it innuendo where we could do like perforce but what a lot of people do is just kind of keep um you know project notepad um so you can see sal here has left a project notepad here so we could just come over here and you could just kind of leave this open and make notes within your project notepad so that this is always you know and notepads could also be on individual tracks so if you come here and you just like okay we made this change did this did this um and the beautiful thing of the project notepad is one it could show up in the mix console so if i wanted to just come over here we could actually see the notepad information directly within the mix console but it could also be exported independently so maybe for each one for each version that you work with just kind of keep a project notepad and then you could just come over here and export the notepad data as a simple text file that can be imported into you know you know any program you could simply import it very easily into any word processor or you know all right so a question uh can you go through a quick grid snap tempo setup i want easy access to change these for when i cut up pieces and move and move around quick i want them to snap to grid all right so let's say i'll just do a new project just kind of start this off okay so let's say first off let's say i have this kind of based on a grid and now they're kind of set uh to musical mode so when i play these they'll be in time so if they're not in musical mode all right so let's say we have these kind of based on the grid so you know if i wanted to just come over here you know we could hit the letter j for grid and that would take off the snap on and off so now if i move this event i can move it and place it freely anywhere that i want if i wanted to hold down my alt or option key like after moving it i can place it anywhere and have it not be on the grid now let's say if i have tempo changes with this so i'll add a tempo track and let's say at this point i want the grid to [Music] go from 120 let's say to 140 right there down to 120 and let's have it ramp up okay so now when i want to move this if i hit the letter j we could have this snap to the grid and we could have this set to snap to bar so as i move i could only place this at a bar or we could say i wanted to place it by beat so now it's only going to fall on the beat regardless of the tempo change so and at this point i want it to be set to the quantized value and this could be helpful if you want it to be okay i want this to snap to quarter note triplets so now we can see that we're going to get quarter note triplets as we move the events now this grid that we have snapping to bar and beat can also snap to different values depending on what our master time is so if i wanted to come here and say okay now i could have this snap to seconds that my grid divisions here will change so i get once it's set into time we'll see a thousand milliseconds one second you know on 100 milliseconds 10 milliseconds one milliseconds if my master value here is set to time code we could have this set to one second different frames sub frames and if it's set to samples we could move this down to the sample resolution so depending on whatever you want so you know once you have the master timeline kind of set you'll see that the quantize values or the grid values will change and be you know dependent upon whatever is going to be on the master timeline so as i just wanted to select let's say these two events and we'll let's say while it's playing i will duplicate that these will just kind of automatically center musical mode to speed up and we'll see that it's gonna now just automatically so even though it's gonna have tempo changes the events will still kind of snap to whatever value and setting that you have set here so if i just say we have this used to bar so as i move this this is just going to only snap to the bar and if i wanted that off just hit the letter j and then you could freely move it wherever you want not aligned to the grid so let me know if that makes sense uh and yeah so once you kind of you know be aware hitting j will kind of turn it on and off and then yours you can keyboard shortcuts to switch to next grid value all right so we see michael teams is very proactively donating ice cream to group members all right um all right so just see a question uh when running out of midi tracks in elements one can do audio out of the midi files and erase the midi track but later one might want to edit the midi for that instrument and sound for the midi played um all right so let's say if i come over here i'll just i think i may have an older version of elements but take a look at it here real quick okay so uh and then um so and it says uh so making a midi file xo export for safekeeping might be wanted but then loading the midi export exporting it can you import and don't know what instrument and sound that's played okay so we'll take a look at a couple of different options in cubase elements try to get the cubase elements 11 installed for next live stream sorry about that all right so so let's take a look at say if i come over here i'll just quickly okay so i don't think that there's okay so let's say if we have uh 24 instrument tracks it looks like okay so let's say if i come over here if i choose to freeze um if we can now add another instrument track okay so it doesn't free one up but i will all right so in elements what you may have to do is let's say if we just you know one thing that you might be able to do soren is just to come over here let's see if we could export if it's set up to virtual instruments is maybe export midi loops and the midi loop itself would include not only the you know the particular you know midi data within the instrument but would include this sound that's being routed to so maybe if you just you know wanted you know so midi file could do that um and you know one so but the midi file as you mentioned may not actually include the particular instruments but if you come over here and say like you know how lian sonic silk roads and just kind of name the particular instrument like that um that you could kind of know what and if you wanted to carry this name over to the part hold down control or command and that way you could just you know come over here and add and the name of the part will include the instrument and the particular track but you know another method may be just to export um you know export individually as midi loops but if you kind of do your naming conventions like this uh and i don't think that there is there's also a notepad that you could have on this so you could type in the name of the instrument and then export that and have that in the text file that you could reference if you needed to have more tracks okay all right my chat field jumped on me let's try to find my spot thanks for all the great questions okay uh so you just see from thiago uh greg in some in some lives uh live streams you mentioned about remembering a past livestream past life as a musician uh did you mean another incarnation or previous job just curious um so i kind of started off as a musician uh and then was you know yeah i started off playing trumpet in you know middle school and then you know in high school started playing electric bass and college i decided to switch my primary instrument to double bass or string bass and i did kind of like really intense uh you know study for performance and you know i got to go you know attend master classes at the grand teton music festival i got to study with francois rubath who's uh like in just unbelievable bassist uh in classical circles so but i kind of took a path of going more into recording so there's some people in my life that know me as just the bassist and some people who don't know that i do any recording or computer music so that's why i kind of have almost like a distinctive i still play um not as frequently as i would like um i have a lot of nice instruments but uh but you know so i kind of consider it like almost like a career change if you will so but i did get the you know gareth who's often on the live streams and michael teams and pablo they asked me to play bass on some of their tracks uh which i did and you could listen at the hot mess if you just kind of do google search for h-o-t-t-m-e-s-s so so i refer to it as a previous life it was just like kind of more of like a different career so like i used to i used to be in a you know second assistant engineer at a really huge hip-hop and r b studio as well after college okay uh so we see from randy lee question uh can i export a click with arrangement markers i.e verse course bridge etc thanks um so if you come over here let's say if i export let's say i had a tempo track um which could be utilized you know which could play back click tracks in you know just about any program could interpolate that but i'm going to let's say add a marker track so if i want if i needed to export this to other programs um i could come over here and let's say i'll click on the e button here or hit control or command m and i can say intro verse chorus so let's say i have those so if i wanted to export um that and you may need to create just a midi track or like an instrument track uh but let's see if i if it'll allow me to export sometimes all right so i'm just gonna add an instrument track and we could just call this ignore whatever you want and i'm just going to add one single note [Music] so if we come over here we could export a standard midi file and i'll just put this to my desktop for now and then we could see that we could export the inspire inserts we could export markers um so we have different options so we'll just say and i'll do a new project and we'll import a midi file and this point we could see that we'll have our marker track we'll have our tempo track so activate my tempo track here so all that will be kind of carried over you know if it's going to be um you know used from like cubase to cubase you could also come over here and say i wanted to you know import uh tracks from project and at this point i could say let me just find something has some so i will just come over here so if i have markers i could just say okay this is my arrangement track and i could just put it into a new track so you could do an import um so if you go to import tracks from project you could import like marker tracks and you know stuff from other cubase projects or export it as a standard midi file but realize that you may need to just have one kind of empty blank part and just call it ignore whatever you want so um that's how you can get it in and out to other programs all right so we see uh richie checking in from northern germany okay uh so i just see hi greg i hope you're doing well cubase 11 pro mac i've changed the fader scale to plus 12 db uh to match with avid controller uh but in the mixer cubase it's uh it stays at plus six uh any id any ideas how to fix this so let's just do a new project okay so we'll just come over here so we'll see plus six i'll go to my project setup and we'll set our volume max here to plus 12 db all right and i'll just save as okay so right now i see that this is set to 12 db max so i think that those projects are going to be set like individually per project because it's going to be handled in the project setup so i will close that particular project i'll go to my recent projects and i'll say 12db max activate it and then it's it's automatically retained there so you know as you do new projects try going to the project setup and just make sure that that will be set to 12 db um on each project but it seems to let's say if i do a new project create empty and go to our project setup that it seems like it's stayed you know that setting is has uh been maintained but it will you know you but you may have to it's not it may not automatically set it for once you set it you may have to go back to projects that had plus six db selected and and just change it there as well alright so we have alexander checking in from moscow thanks for joining all right we see ted springman's on from sherman oaks and we have peter checking in thanks for joining all right so we see a question uh how can you colorize with an easy way the used pads in groov agent so i don't know if there's a way to you know you could colorize pads um let's go ahead and take a look to see so i don't know if there's a way to automatically select you know based on so if i just kind of select try just holding down our control so you know i mean we could select so you know you could individually select um but i don't know way to [Music] you know select the particular pads that are you know triggering notes in a particular project but if you wanted to just right click and set the color [Music] accordingly you could do it like that but i don't know a way to colorize based on if it's within the project or not the pads so you might have to manually do that see michael teams is passing out pumpkin spice ice cream getting ready for thanksgiving in the united states next week uh so we see a question uh what's best to start 44.1 or 48 uh in our question some cubase users told that better to create music in 5.1 than in standard stereo is it true um all right and how can we convert 5.1 to stereo um so it's really you know i would say that if you your whatever your final delivery format is you know if you realize that you might be coupling it with the audio with video then 48k can make sense for [Music] a video editor there they generally deal in at 48k you know if you want to release it on cd you could start at 44.1 k um you know some of my you know friends you know i remember uh someone had asked i think tanmay had asked previously and like you know he wanted to know like what sample raid zed and his team were using uh you know like it was you know and when i kind of talked to zed's team it was you know they're doing everything at 44.1 and they're like you know it frees up additional resources and he's like if i was doing something like you know with a lot of acoustic instruments you know like i would probably do 96 or 192k but for a lot of material they found it didn't make a big difference uh i would kind of agree with that that would be you know if it if that there's not a significant sound difference between the two so you know i would say if it if your audio is not sounding the way you want it's not the sample rate's fault but just think of like what the final delivery format is going to be and then you could kind of choose accordingly um so the second question uh some cubase users told me it's better to create music in 5.1 than in standard stereo is it true yeah i think that 5.1 is really interesting the pro the problem is that most people aren't able to properly listen to 5.1 so about 20 years ago there was a big uh a big movement to try to take a lot of like you know great recordings and current recordings and not only offer a stereo mix but to offer a 5.1 mix and it was like really compelling sonically like you know like i still can remember being an aes show in san francisco and hearing uh steely dan gaucho mixed by elliot shiner he's a big steinberg user uh in surround in 5.1 for the first time we're listening to um the opening cut and the horns come in from behind you on babylon's sisters so you know it's like oh like donald fagan's vocal is perfect isolated in the center channel and the band is playing and then the horns come in during the chorus from behind you and i was just like oh this is so amazing so but the problem is most people don't have a 5.1 monitoring system so that gets to be the problem you could spend a lot of time working in it and then no one can really listen to it uh in 5.1 and the question is you know how can we convert 5.1 to stereo so within you know if we had a 5.1 project here so let's say if i come to my audio connections there isn't you know there are some down mix algorithms but if you did it in 5.1 it's probably not going to accurately change you know like to one you know like it's not going to be an instant thing where it's going to take that but you know a lot of times your 5.1 mix will be down mixed depending on what the actual uh monitoring solution is but if we add a monitor here in the control room and we have a 5.1 monitor set up at that point um you know you could go to and we had a 5 1 output in the audio connections and i'll just add an audio track so but then you could have under the dow mix presets you could say okay we're going 5-1 to stereo to mono and you could have your down mixing there so i would say it's pretty rare uh i think music in 5.1 we see it in films often for four channel uh because generally the film composers don't get to touch the center channel it's gonna be reserved for dialogue and someone make the mixer may pump a little bit into the alfie or the subwoofer but generally i'd say 99.9 of music is going to be mixed in stereo okay so we see uh thanks for the answer about groove agent and uh so this question uh where can i find the samples from the kit you load where is the library so a lot of times when you go to a groove agent kit and we have it opened you know so say if i come over here we may not see all of these individual samples kind of broken down like where you may not see okay there's going to be you know 10 kicks and 12 snares with different velocities so often it's going to be kind of loaded up as one single entity within groove agent um so like the factory content won't be broken down you can say okay i could take this individual uh pad you know and i could take this tom and come over to media bay and find it you know some of the so let's say if you come over here to some of the loop samples uh some some of them will allow you to do that so let's say i think if we go to um so you know here a lot a lot of it you may just come over here and hear you know some of the individual samples but a lot of the kits are going to be kind of for copyright protection where you know we could include it as kind of a kit but not broken down as samples but you can check out like even some of the allen morgan signature drums uh in rock pop toolbox drums and here you could say but they may not be kind of say this kit is using this so but you could take a look through and often kind of find different samples right there to work with okay so we see are there other drum programs already where you could create the drum map from the instrument the only one that i know of where it's you know specifically a feature is going to be groove agent i don't think it's a limitation but i don't think other ones are really kind of set up for that particular functionality so but there are a lot of different drum kits that will have drum maps already available for them all right so we see well cubase 12 still support vst2 on pc so i believe um you know i haven't heard of any plans to change vst2 support you know so uh so i imagine that it still will i you know i can't really comment until it's coming out but i wouldn't be worried about that and even on the mac side i think it will be supported but it'll be running under rosetta so all right so i just see is this cubase 21 so imagine that might have been a typo for cubase 12. so i'm running cubase 11. so generally for the live streams i don't run any software that would be you know not available to users so all right so we have chris from portland oregon checking in and we have eridy from instant bowl thanks for joining us and demetrius from greece all right and michael pierce is joining us from outside of london just hoping that everyone in the northern hemisphere is enjoying autumnal colors and slipping in in leaves yeah my son was having a lot of fun with leaves at the bus stop this morning okay so you just see uh greg regarding transpose f to a minor isn't it possible to do this in a logical editor for midi stuff you could do it in the logical editor or the transpose setup um and to do it in the logical editor would be just to come over here i'll just select a quick sorry about that we just add a note here so if you want to do it from within the logical editor you could say okay we want to transform and we'll say type is equal to notes and then we could just say here we're gonna say value one which is the pitch of notes um transpose to scale and then you could say from to you know let's make this into f major so you could then just kind of transpose and have the notes automatically fall so say if i do f sharp major we'll see now the notes will probably shift so once we have this selected here then those notes would shift just like that so but again you could also for midi information do this within the transpose setup as well and just check the scale correction there all right so we have sri lanka checking in thanks for joining us rice is probably very late or early there all right so we see a question so cubase getting away from the dongle so yeah starting with cubase 12 there will be a new identity system so won't be using the usb e licenser anymore okay so you see from uh lloyd mitchell says i emailed a complete folder of a song i was mixing we both have cubase 11 and plugin alliance plugins cubase couldn't find one of the ap plugin but have the plugin and can insert it manually so um sometimes when this happens it could be maybe one version was using like the vst2 version or and one in and maybe one is uh set to use the vst3 version so maybe it's something like that make sure it's not i'm not sure if it's only the i don't have any of the plug-in alliances uh plug-ins but if they have est2 and vst3 make sure that you know they're you know using the same one on both sides okay so we just see from the cube uh just saying we need a more advanced studio eq so make sure that you do check out there is a very sophisticated eq other than the studio eq so if you wanted to go to frequency so let's go under the eq and you go to frequency and this is pretty comprehensive in that you could come over here uh it's eight bands um but if it's on let's say our stereo track we could choose to have this uh one single band eq kind of the mid and the side independently so if i wanted to adjust kind of the sides like the left and right edges of the panning and the middle part of the panning spectrum or we could also have this do left and right so we could come over here so it's eight bands each band is linear phase um and there's a dynamic mode so that now you could you know just come directly over here and go directly to the that you know so if you want to apply dynamics to uh band 3 and even if you have dynamics on band 3 on mid or side again independently or left and right independently we could also just come right over here and see the pitch indicated uh there is kind of a unique listen mode where you're only hearing the frequencies that you're affecting when you adjust the eqs and there's also uh you know once we get into more of the dynamic mode um you know so if we introduce the dynamic mode you could have uh you know eight bands that are side chainable independently so if you need a more sophisticated eq you know definitely check out the frequency eq all right so i see just kind of a further comment and a 96 kilohertz cut on the low cut in the main eq and six bands unlike frequency two so you know so all right so let's say if we come over here to the frequency you know so usually most people aren't on displeased having that but let's say if i wanted to come over here and we say low shelf um or let's say you know we can cut 96 uh db directly there so i'm not sure when you say a 96 kilohertz cut or a 96 db cut but you have a 96 db cut uh on a low cut in the main eq and six bands unlike frequency so you know here we have eight bands but you can't have 96 db of cut as well so if you need that more you could do that but one of the other things uh you know we have to make sure that you know if you use like the channel eq that you know you have backwards compatibility with other projects as well so but there is a 96 db cut in frequency all right so we see a question uh when i drag and drop an audio event on top of another uh and then i open up the lanes they are still on top of each other since cubase nine before that it would stack up in lane one two three what happened all right so let's give it a shot here really quick all right so now i have that file i'll drag that file [Applause] all right so now when i get to lanes um all right so it looks like it's and let's see if i just kind of drag it i'll have to try this on nine but but let's say if i just kind of drag it to different lanes initially that you know so once you have the lanes open but i thought that it might behave [Music] let me just try see if i have uh if delete overlaps makes a difference let me just look to see if there's any preferences that might affect this so i i could try and so here when i go let's see if i so then i could select the lanes but it doesn't show up in lanes but if you want to send me an email i will uh i don't have cubase 9 on this computer but i could see if there's any preferences that change that may change that behavior sorry about that all right uh so we just see uh hi greg is steinberg planning to implement pitch follow to frequency 2 eq or some other so i'm not sure if pitch follow is something like um like i i had kind of passed on a feature request a number of years ago maybe for like the eqs to follow the chord track uh but if it's something like that i'll pass it along again i haven't heard of any plans for frequency 2 that could be discussed yet so but i'll definitely kind of mention that conrad thanks for the suggestion all right so michael teams is saying whack the like button keep greg employed so that's a good thing so i'll agree with that all right uh so i see from uh sonic alchemy saying it's uh thunderbolts i think this might be with the um you know with the universal audio apollo interface it's kind of dropping out so and if you could let us know if it's going to be um on mac or pc and if it's connected to a hub or directly to the computer that would be helpful information but thanks for the clarification on what format it's using okay so we see from jip sorry for hijack question sorry for hijacking his chat so there's no hijacking everyone's free to ask questions i'm wondering for some time now if cubase 11 will get apple m1 support or will come only in cubase 12. so i think cubase 11 will basically work under rosetta mode and i think for true native support of the m1 processors it will be in cubase 12 from what steinberg is kind of indicated it's a tremendous amount of coding and work that's going on to make that happen okay reading through comments okay so we see a question uh hi hi uh robert from croatia here i'll try to make it quick um thank you for sharing your wisdom greg could you tell me what's the best way to start mixing a finished arrangement you know there's no real set rules by any means you know i you know one of the things that i like to do is you know like when mixing you know most people will tend to start you know depending upon the project but you know if you're doing like a typical band type of arrangement most people will kind of start at the low end uh and they may kind of start you know like drums you know so some people will start you know a very common way is to kind of start with drums and just say okay we're working on this and okay i have my kick drums and i want to make sure that you know these if i'm working with real drums that they're in phase there's no phasing issues try to eliminate all those you know bring in your different elements here so make sure your drums are sounding good you know if you're doing like overhead drums and each project is going to be different so you know uh then often i would take make sure that the base and drums that you have a nice foundation [Music] uh and then you know start to add guitars and realize that you know when you are adding guitars you know and i always like to think of it kind of like um you know if we were to look at maybe something like a quick sample or track just to show a visual you know when i did mixing you know one revelation for me was okay you know like if i envisioned a piano i would say okay i wanted to have frequencies represented in the low end the mid range and the high end and if we were to think of a drum kit a lot of instruments are kind of set up this way so you go okay we're gonna have our kick drum our toms our snares the mid-range hi-hats and symbols for the high-end information and the bass even though you think it's mostly going to be low end you know you hear all the harmonics on bass especially like with round wound strings try to have that so try to have different instruments but try to have kind of a balance of different frequency ranges because if everything is in the low end you know it's not quite balanced and it won't sound right and translate if everything's in the mid-range that may be that might have been good when everything was played on am radios but not you know when everything is going to be mixed you know and monitored on headphones or in stereo or on your computer you know so you know so it's hard to say you know exact you know rules every project's going to present unique uh aspects to it and especially depending on different instruments but you know those are a couple of rules of thumb you know just envision we like you know just have your piano here and figure out that you want you know a broad you know you want a representation harmonically within these different um frequency ranges and different instruments you know should be balanced harmonically if you will okay so we see a question from andy lane so thanks for being on the live stream uh glad you could join us today uh so greg can you do a tutorial how to set up a microphone for cuba so generally the microphone is going to be connected to an audio interface sometimes in you know there are usb microphones uh like i've i've assured mv7 that i'm using and this could work you know either xlr or usb so if it's going to be a usb microphone you know you would just come over here and we want to set up your you know your audio interface and i'll just say um i want my audio system to go out of my shore mv7 all right and i want uh so now i may need to adjust my connections my audio connections under studio so you can say okay now the output can go out of the shure mv7 and this will make sure so i'll just go to my control room and when i do this you won't be able to hear it so and my inputs would i'll just say we're going to come over here to a preset so let's say i want uh mono in and i'm going to just say okay we're going to have this from my shure mv7 so as i come over here i say we're going to go to record i can add like a mono track and at this point i could record and you can just you know record directly from the microphone right in um if it's going to so you could do that now if you want it to uh have it connected to an audio interface through like an xlr connection if it's a condenser microphone make sure that you have the actual uh you know that you have the uh phantom power enabled on the particular audio interface and that may also be labeled as phantom power plus 48 volts and that's what condenser microphones would need if you're using a dynamic or ribbon mic generally you don't need that and then once you have your your audio interface defined in your audio system so let's say i go to my steinberg ur 24c and i hit ok we want to make sure that our inputs and outputs are mapped that at this point um you know you want to place the track into record make sure that you have you know the particular input routed where we have the microphone connected and then you want to just you know activate record enable and monitor and that's kind of all you have to do and that will start to record your microphone whether it's usb or an xlr connection so all right so we see uh from peter uh just saying thank you for your help last week was showing the waveforms and the right uh on a project window my advice your advice worked i needed to zoom and widen the tracks all right so thanks for letting me know it was kind of a puzzling one for me glad we could point help point you in the right direction all right uh so i just see a comment this is uh i think from cubase junkie to mandy says i got a new way of being on the scale by using the transformer in the midi inserts um so one other method if you wanted to automatically transform to fit within a particular scale is to you could do this in let's say if i have an instrument track here so just for other people's benefit [Music] so if i'm i'm playing a particular scale here so let's say i just play like a c major um and i so say i'm here in retrolog if we are in the editor itself one of the cool things is you could just double click here and when we go to scale assistant uh we could say okay i want this to be in d major uh and then we could just say uh snap live input so now it's only going to play notes like if i record it will only record notes that are going to be fall within d major so i'll come over here and i'll just record the c major scale [Music] and i'll set up the just uncheck and monitor that so let's say i'll just go ahead and i'll play a c major scale and then when we look at the events [Music] that now when we go to look it'll be only uh once we have the snap live input uh that we could just quantize kind of the pitches that way so you could just do kind of snap live input directly from within the key editor itself as well without having to use without having to use a transformer so that may simplify things for other people wanting to do that okay uh so we just see another question um having trouble uh figuring out how to set locators for indicating the area for exporting i followed the manual but not sure what i'm doing wrong all right so let's say if i wanted to export like this entire project so right now i have my left and right locators kind of set randomly so if we select like an event that's the length of the project you could hit the letter p like parts to locator and that would set the locator range automatically around the selected event so if i have this event selected i could hit p and it will just export uh just that particular range now if you wanted to export just kind of you know cycle markers between songs or between two markers so let's say i'm here [Music] and i wanted to drop a marker there and a marker here and i just wanted to export like you know maybe something that was uh non-linear so you know if i wanted to set the range i could just come over here and with these range selection tool you could double click on the marker track and then hit the uh hit p and that would automatically set the locators now if you're using the range tool a lot you may want to have the locators automatically follow the range tool uh and that's a preference that you could enable i think it's just under editing uh is cycle follows range selection so once we have that enabled anytime that i do a range selection the markers would automatically follow so when we do an export audio mix downs can be based on the left and right markers and what's included within those so let me know if that helps all right so we see robbie bowling just checking in uh from dallas and he's saying better late than never so never have to apologize for being late that's why you know we have these where you can watch it live or watch it afterwards they're glad you could join us all right so we just see a question uh hey greg is it possible to change the cc data of multiple parts uh if i select them all at once can you edit cc1 at the same time for multiple tracks slash parts that are selected for example um all right so let's take a look so there's a couple ways of doing this so if you wanted to draw it in um you may have to kind of cut copy paste uh but i'll just duplicate this track a couple times hey all right and let's say if i wanted to come over here let's say we have modulation okay so so if i'm here let's say i have all of these parts selected you know one of the ways to do this is um you know just to come over here and you could re-record uh data so some reason my mod wheel on my controller isn't transmitting so if you record the modulation data you could record on all the parts at once so let's say for instance if i if this was pitch bend i could come over here and just record and if all those tracks are record enabled you could just record the pitch bend data and we could have depending on your midi record mode we could have that merge directly into existing parts so let's say as we're playing i want to record in so i'm just moving my mod wheel and i'll do this for excuse me for i'll select i'll record enable all the different parts so if i if you wanted to change existing values you can just kind of come over here and re-record in so say i record so that will overwrite the values but if we wanted to take existing uh modulation i could select these different parts here and you know if you if you want to like bring everything down i could come to the logical editor and say i want to transform type is equal to controller and its value 1 is you know our cc message one and i could say let's take its uh value one and i want it to subtract 30. so now as i do this we could subtract you know 30 values from value one of modulation so we could edit multiple uh ones like that but what is easier and this kind of was simplified in version 11 is now i could take uh if i have multiple parts that are selected so we say uh i can now come over here and just copy so i'm just going to do control or command c and now when i go to [Music] let's say retrolog let's say i've i'll modify this it's visually different okay so i want to copy this and i go to retro log 2 and then i could just paste the controller so if you wanted to have the same controllers information you could do it like that as well and you could and white looks a little different you could paste it at the particular um at origin as well so let's say if i come here so we could say okay i have these selected and then but there there isn't a way to you know because the controller is going to be in both so you could just kind of copy so i'll select all my controllers i'm going to copy that let's get to the next part and then i'm just going to look up the paste at origin keyboard shortcut to make sure i have it correct so option v okay so now i could go to the second part here and then just option v and to the third part so if you needed to edit you know it's it's a workaround but in previous versions it was really messy because it would kind of put the information and overlap it to the previous information so now you can copy so i know it's a little bit of work around but it's not so hateful but just remember option alt or option v for paste at origin all right um so i just see is there a way to move the timeline separately from the rest of the cubase window say if i wanted to just have the timeline on another screen so i guess is it this timeline that you want on a different screen i mean um but i mean you could always if you have multiple screens i'm not sure if it's like the project window if you have multiple screens you could drag this over to a different project window so it says um so if i wanted to just have the timeline under our screen so it's just kind of a floating window that you could reposition on any screen or any other monitor but let me know if i misunderstood that all right so we just see i have a ur242c how can i control the settings for it on the mixer f3 um all right so let me get mine set up so with the urc interfaces and it's kind of a goofy thing uh you know if we go to the control room you don't see the dsp resources unless you're actually um have the outputs defined so let's say if i come over here i'll set my you ur 24c uh input so we say okay i got my inputs here and what i want to do now is we'll add an audio track and we'll just set this to our mono input all right and now i can see my ur 24c settings directly here and let's see if that is translated into um so i don't think it's going to be handled in the main mixer so i know previous versions it was handled on the the inputs here uh but i think it's going to like to access all of the dsp settings that you just do it from the inspector on the project window so and i realize it's confusing is that kind of changed from uh yamaha and japan of how that's uh implemented so like other versions you could do it in the main mix console and that's where you do it and people can find it so they try to simplify by moving it to the inspector so okay thanks for all the great questions if you learned something make sure you that you do hit the like button and this jazz dude is uh described smash the like button all right all right we see from wreck it was a ur242 not not a c so i think it's kind of handled the same way i didn't think there was a 2242c so okay so we have question uh what is the steinberg audio power scheme and when will we need it so you know a lot of times i think we mentioned this a little earlier in the live stream that people uh many laptop companies will generally kind of slow down the computer's processor so that it could have a longer battery life so you know anytime that you're running cubase you want you know and if that's the case what it means is that you know your your computer's processor is kind of being you know if you had a five-speed car it's only getting up to maybe gear two or three so that the battery lasts longer and it's more kind of eco-friendly and green electronics you know certification but you know and while that's great um you know for your battery life it doesn't it's bad for your cubase processing so anytime that you're running cubase especially on windows it's always advised to use the steinberg audio power scheme so that's the intention and basically what that does is it makes sure that all of your cpu is available to use when you're running cubase okay so we just see uh from angelina hi how did how do you batch export multiple mixes at different formats uh at one go example full drum and bass no drums strings etc wave mp3 aif 48 32 128 or 320 128 so if we wanted to do different formats um so the formats can be done really easily but you know if you're doing different instrument combinations uh and doing it and export audio mix down that kind of still has to be done manually so let's say if i have this project and i go to my export audio mix down and if i wanted to do different formats this is when we see this little export queue so if i enable this we could say okay i want to mix down to a 48k 32-bit float wav file i could click on add to cue now i want this to be 24 bit 48k add dq i want this to be uh 24 bit 48k split channels for my surround and i want this to be an mp3 uh at 48k at 320 and i want this to be 128k mp3 and then all i have to do at this point is just say start q export so if you're doing different instrument channels you'd have to kind of go through and manually mute those um [Music] but and that isn't necessarily kind of saved directly within the uh within the job cues but all the different formats can be done so okay reading through comments thanks for all the great questions all right all right so we have a question uh from uh benny from sweden in stockholm uh when i changed the tempo audio tempo changes but not midi what am i doing wrong uh i want outro to slow down thanks so a lot of times you know if we're doing this uh midi will you know usually default to being in musical mode and could slow down so if we have the midi event you know first off is you know make sure that it's not locked into position uh but select the track here and then make sure it's not that is in musical mode where you actually see this little uh quarter note uh icon here as opposed to linear mode because because when we're in musical mode it's going to be tied to the bar and beat and we'll the midi events will follow the temp the tempo changes and be related to the bar and beat position regardless of tempo and when it's in musical mode or when it's in linear mode that means that the events are tied to the particular period in time so make sure that you know it's it's set to musical mode and that the that there's no lock on the events and that should take care of it for you benny all right so we have chris checking in from columbia south carolina thanks for joining us all right and we have claudius checking in from quebec in canada all right so we see what's new in cubase 12 um so you know so we i don't really have any features to share with you um so but we they've the two features that have been announced is apple silicon support and and as well as the new licensing scheme there will be many other features but we're just not able to communicate those now all right we have ocon checking in from turkey thanks for joining us my country has always wanted to visit my mom's been twice all right so we see jeff savelski from chico california on the live stream thanks for joining okay so we see a question from marcos uh gomez well using analog compression i just set the ratio to infinity and threshold like minus one and it's done without passing minus one or even without the meters from the daw showing minus one being the maximum can exist over it um i never used analog compressors sorry for the question um so you know one thing when you're i'm not sure if you're using it as an external uh effects inside a cubase or you're just routing out from the you know audio outputs from the audio interface into it uh but you know it also could be like maybe the compressor isn't seeing enough level so but if you get to share some of the information marcos that would be be great to have okay uh so we just see hi i add a reverb to feel more comfortable when recording vocals as a question um however there are echoes in the sounds i recorded even though i turned off the effects echoes are heard in the audio recording um so when you're doing that you know some it sounds like one of the things that it could be is something kind of um you know it could be that you know depending on your headphones that you're using um that maybe you want to have like closed back headphones because a lot of times if you're using a condenser microphone one of the things that could be annoying is you know you're hearing you know perhaps the headphones that are leaking and are being captured by the vocal microphone this often happens sometimes people have a click track in the vocal mic and then as they're recording the vocals they hear the click track and they're like oh i turned the click track off but i still hear it and it's because you know you know they had headphones that weren't isolating for the vocalists so it could be maybe something like that so so i would check that all right so we're going back to marcos's question uh the question is digital limiter receiving like minus one is the same as analog one with minus one of threshold and ratio simple like that or do i have an additional thing so you know you could have it set to minus one but if you're not getting anywhere near minus one on the unit because of the level that you're sending out to it then um you know so in concept they're gonna be similar but you know you're gonna have different gain structure requirements so and especially if you're going out minus 10 from an audio interface or you're going into a minus 10 input or a plus 4 input depending upon the unit itself all right wonderful to see daryl pearson on the live stream he's a incredibly talented musician producer engineer we've all heard his work and he was on the last live stream zoom meet up sharing some wonderful insights so thanks daryl for joining and we'll be having our next one at the end of november i think it's uh a tuesday afternoon so we look forward to seeing everyone there all right and we have ed checking in from massachusetts thanks for joining the live stream all right um so we just see can anyone help with use of effects in the vocal recording you know so i'm not sure if you wanted to be you know so if you wanted to apply effects to uh a recording you know if you have you know let's say an input channel defined you know so there's there's two different ways so while you're doing it you could choose to if you go to your audio connections here you say inputs i'm going to add just a quick audio track and we'll say okay it's going into our mono input and then if we look at let's say our input channels here so you know we could on the input channels if you wanted to you know basically write the effects in to the track you could put on it on the input channel this can't be undone so if you say okay i wanted to record with a delay on you know like or a reverb we could print that effect a lot of times people won't go that way because you could kind of be stuck with it if you have the track that you're recording so let's say we add an audio track here and we choose to just now uh monitor this particular track we can monitor with effects um so if i wanted to add you know a reverb to this like maybe even like a courtesy reverb we could you know come over here and add a reverb and this isn't applied to the file but as the singer is hearing it they would hear the reverb now one other setting could change its behavior as we discussed before if you go to the studio setup and click on the steinberg you click on your audio interface here under audio system if you have direct monitoring on this won't go through this particular reverb and it's going to send the signal out directly from the input to the output so if you look even give us a little more information if you know what you want to do exactly in recording the effects that you know that could be helpful you all right so we see uh matt just saying so i opened up cubase yesterday for 10 minutes then closed it now i get a cubase youtube recommendation uh big brother spying on me so i wish we were that clever as a company to do something that nefarious but you know we're not that uh i don't think we're that clever to actually do that so it's probably you it's probably um something else that's causing it you know i i would suspect google more than um than any you know so i don't think steinberg is does anything like that at all so all right so we see robbie bowling just saying just comment but i see surround sound is having a limited and the niche market as far as uh any demand goes i think that's probably pretty accurate i still think it's cool but um so i was just seeing more discussion from marcos i just wish you know of putting the threshold of -1 or minus 0.5 minus 1.1 and the ratio infinity and velo it's done or do i have to do something after you know so a lot of times there's not gonna be just a perfect um you know a perfect setting it's gonna be dependent on every situation and gain structure within the mix gain structure going out gain structure of the hardware unit itself so all right so we see gareth has made an appearance on the live stream thanks for joining us he's gonna pop out and join us back in later so he's probably already back in since i'm so far behind thanks for joining all right we have rudy checking in from belgium all right and we have dan freeman checking in from atlanta great that you could join us all right uh so we have a question uh when i track archive uh the sampler track uh is it saved with its own copy of the sample not changing sample location or computer um so i believe that the track archive if we could give it a quick test here just to make sure okay so just come over here let's make a sampler track just change this so you guys could hear it all right so we'll come over here we'll do an export selected tracks and i think if we choose copy media files that that will include all right now saving all these things to my desktop that's why my computer desktop is always messy just like my second grade teacher told me all right all right i'm gonna do a longer sample here just to test [Music] so it looks like it's still referencing the audio files but i think if we save let's see if we save it as a track preset because i it may be just referencing the location um you know i think what it's going to do is like if we get to the media bay we will have i'm sorry to the pool window that it's just going to reference maybe the location directly from the sampler track folder so i think that's where it may be but it doesn't like the track archive does that even with the copies i think you may have to as a track preset okay so we just see a question i exported some files by the queue and now every time i mix down i have to add it to the queue and i'm not sure how to get it back to the way it was before i did that um so if you're here and you do the export audio mix down if you just close the queue then you could just kind of just choose to export but when you have the export queue active then so now i could just choose to export my file but all you have to do if you just wanted to do it straight uh just come over here and do your audio mix down and make sure that the export queue area is actually closed within the particular project and then you should be able to export as normal all right so we see michael teams has granted me three scoops of black diamond ice cream thank you that's always very generous i look forward to my ice cream flavor selection every hangout every live stream all right so we just see a question uh from walter is it right to mix the song when the clipping fader is showing clipping note so you know if you're kind of mixing the song realize that you know it could depend on what the actual export is going to be so let's say if i want to take this file here it's probably pretty hot mix if i remember correctly so let's say i will just come over here so you know realize that you know even though we may see you know our audio clipping here that within the cubase mix engine because it's a 32-bit or 64-bit floating point precision that there's a you know a tremendous amount of internal mix head room but you know realize that if you say okay you have a really if you're kind of at maximum level and then you export it to a 16-bit or 24-bit file you may want to bring that down slightly to avoid that but if you export it as a 32-bit floating point or 64-bit floating-point file you're less it's less necessary to worry about the limits but you know it's always you know there's no real reason to go super super hot with it okay so we have a question from andy costco um can you explain the connection procedure from an external device such as a pedal distortion effect excuse me or a uh racked delay to cubase 11 and use it as an insert or send so all you have to do is go to the studio menu go to audio connections you want to go to your external effects um so let's say i wanted to add an external effects so let's say i want to do an effect and let's make it in stereo or mono so let's say i want this to be a pcm42 [Music] okay so at this point we'll add this and we want to tell it where it's actually connected to the audio interface so we're going to need inputs and outputs of the audio interface to interface with the external world so we would say okay we're going to take two outputs and this is going to send the signal out to the effects unit and then we're going to take two inputs and define those as our return bus once we want to put this on a particular track i could say let's go to my inserts or my sends and we would just see it under external plug-ins and then we could see okay let's go to the pcm 42 now realizing that by time the audio goes out of the interface into your external processor gets processed and then gets sent back into cubase that loop of the signal can often have a delay so what you want to do is just click on measure delay and that will measure the latency or the length of audio of time that it takes for that audio to get through that signal path and now it will compensate for the external delay just when you click on measure delay so at that point you could just simply use it just like a normal plug-in yeah obviously you can't control the parameters 99.99 at a time some will have editors most don't but you could adjust how much signal is going out and how much is coming in if needed okay so we see from jay from connecticut uh might you please ask steinberg to augment the myriad uh wavelab videos covering product workflow efficiency with at least one complete mix to master playlist of videos for context okay so i mean so jay if you could let me know if you're looking for how to take a complete mix or if you're looking for a complete mix for mastering i think you're probably looking for how to how to you know master a complete mix but i i could definitely pass that along and i know justin has his own uh wave lab live streams as well all right we have a question uh from walter uh is it right to send a delay to the group back backup vocals you know it's it's very commonly done so where you could just kind of take um instead of necessarily you know so a lot of times if you have a lot of backup vocals you know you may just you know take the backup vocals and you know take it to a group and take that group and do compression and do you know kind of one delay or one reverb on that uh just to kind of make it sound a little more cohesive so people do that pretty regularly all right so just see from marcos gomez saying about phantom power the microphone thing is about xlr to xlr at least for ur 22 tried trs to xlr don't work so generally i don't think that um trs will transmit phantom power you're just seeing it test it with xlr xlr it works great so yeah all right so we have sergo checking in from st petersburg thanks for joining being a part of the community all right so and see sergio is just saying i did uh the arrangement for one song for two for two whole days and still not happy with the result so you know make sure that you take breaks and um you know but yeah it's known to happen i you know i had records i mixed i couldn't listen to for like 10 years because especially kind of pre-automation where i could still envision everything i did uh you know all of my manual mixing that i had to do and you know in practice for in doing the mix so but i someone just sent me a copy of the record to listen to it a couple weeks ago and i i was able to like it so but you know try different results uh try different arrangements and see if there's something that you know will you know figure out what you don't like about it and sometimes do it quick and give yourself a deadline and just say i'm gonna do this and i'm gonna try to get something done in two hours and make yourself work on a deadline and you'll probably work differently with a different perspective you see dan freeman just saying a massive thanks to me for helping through edited questions last week and we're glad that you could be here enjoying thanks for the kind words dan great to help you out over zoom so all right so we see a question um i'm still fuzzy on having a midi melody and what process is to find chords that'll work uh playing one key on the keyboard and hearing chords within the scale [Music] all right so let's go ahead and [Music] i'll compose a melody that gareth could use later i'll just make up some silly things i'm not a songwriter or composer all right so let's say all right now move my phone off the keyboard all right so let's say i just wanted to come over here and we'll have this be our melody and maybe chords okay so i'm gonna have a all right so i have [Music] i'll just turn this up a little louder so chords and let's say okay i just wanted to [Music] play just a little melody here all right i think i have let me just get rid of a i think i have a generic remote that i could get rid of okay so let's say at this point i just wanted to put on a click track so hit c and then i'm just gonna let me change my click from the last live stream all right so i say i'll just kind of play a melody here [Music] [Music] okay so say i just have generic melody so you know we could kind of look at it and say okay like the first note of the melody let's say is d all right um and then you know just some quick analysis here you kind of look at maybe the melody and if we kind of you know make the notes a little taller by zooming we could see kind of the note names here so the melody is if i'm looking at the third i could say okay it's probably um it's a minor third we go from it starting on a d maybe going to f so maybe we're in d minor so let's say we will just kind of trim this maybe start here i'll put my locators around here let's put it in cycle and now [Music] and just kind of you know play around with it a little bit and [Music] you know sometimes you know you could look at it and do like all sorts of you know theory analysis of it or just kind of say okay we're playing roughly around d so you can say okay like i wanted to go directly to i wanted to change chords here so let's say [Music] so let's say we listen to it [Music] so we say okay that's going to be a g so maybe i want to go to like a g chord right there and if i was singing d minor maybe that'd be a g minor chord [Music] and you know just kind of take a look at you know what notes you know so if you kind of know the scales maybe figure you know use one of those notes and say okay you know maybe it's a i want to go d minor to like a a g minor or i could say [Music] or you do a g minor seventh chord you know so just kind of build chords within the scale that you think you're in that are utilizing you know and you don't have to use just straight one four five but you know one four five and one six fours you know are very common uh because that's how a lot of melodies will kind of you know take you to and that will give you kind of very strong dominant chord changes right so we see jvi is made to live stream great to have you on can we have pete franco checking in from fort worth texas all right so we're seeing from sergo uh spectra is a great plug in a perfectly separated vocals from the guitar all right great c sven on the live stream okay so we just see um so about today i see in cubase 11 pro it's a question in cubase 11 pro everything doubles my print letter my mouse doubles triples time but only in cubase i have cubase without 10 years but today that's the first time [Music] so i'm not sure uh what would cause like the mouse to double or or the keyboard um so it sounds strange so i don't really have any ideas off top my head sometimes i could see that you know people will have like a midi controller that's transmitting on multiple midi channels and will record um you know and will record you know multiple midi channels that are just kind of layered together but i haven't really seen it with the mouse or the keyboard so when you say so if you want to send me a video and share it to uh club cubase at steinberg.de i'd be happy to take a look at it and see if anything pops out all right so we see um is there a possibility to draw in a vibrato and a midi guitar by using pitch bending curves so let's uh give it a shot here so i don't think that pitch bend will you know even though it kind of seems like it's doing the same thing as vibrato that it may not actually kind of give you the same effect it may sound a bit artificial but we'll give it a try so i'll just switch this uh guitar to i'll switch that little lead line to a guitar now okay so all right you know just transpose this down [Music] okay so let's say if i just wanted to do pitch bend here so let's [Music] so probably one of the tools that you might want to do is just to grab you know if you go to the drawing tool you may want to just say okay i want to try say kind of a sine wave and we'll take off snap so we'll see what this sounds like and could sound artificial [Music] so if you wanted to just kind of come here you could try to you know even have this you know synced but if you wanted to just you could hold down kind of like the so if you just wanted to just hold down like the shift key you could kind of set the amount of that so but you could kind of you know if you're but you could also just kind of freehand draw it in to say okay i want that too [Music] so you know you could definitely play around with it a lot of times you may have different guitar samples that may have vibrato on it but you could definitely like in a pinch get that to work i think okay so we have a question is it possible to change the tempo of the track where the vocals are written without losing quality [Music] i have a really good example i'm not sure if i could i can't show that for copyright reasons but all right so let's say if i just wanted to come here all right this is in 6 8 time [Music] all right so now we do this we're in 75 beats a minute [Music] so so now i wanted to do 88 beats a minute [Music] so once it's in musical mode i could just come here [Music] or let's make it [Music] so my my drums aren't in musical mode but so let's say that's maybe a little extreme so let's say we're at 75 and even if i wanted to slow it down to 60 [Music] and let's say to our original tempo so you could definitely do a lot of stretching and changing tempos of vocals without much consequence all right so you see from dan freeman question uh moved content via the manager and there's still vsts and dlls in my c drive can those be moved to my internal d drive and use windows hard links to d if needed so i think most of those dlls take very little space you know it's the content that takes a lot of space um so but let's see if we could come over here so i think that all of the vst3 plugins need to be installed to the c drive or to the main drive but vst2 plug-ins can probably be installed to other drives so let's just take a look [Music] you know because vst3 plug-ins are all going to be kind of installed to one common folder um but you know but vst2 can be installed so i think it depends on whether it's vst2 or vst3 but generally you know it could cause you more problems down the road suggesting a comment from uh kaiwen franklin just uh maybe it's about as apollos as i really like it but it was noticing some noise when i plugged the apollo into my macbook turns out i had to plug my power cable into the macbook and the noise goes away so yeah it could be like a grounding issue a lot of times uh when people run into that if you remove the plug from the laptop that could solve problems so it could be just a simple grounding issue all right great to see that gareth is back i lost my space just gonna find it real quick all right all right so back okay so we just see a question what is the audio warp plug-in used for how to use it in musical mode can you tell us more about musical mode all right i'll just do new project here okay so let's say i have an audio file that's uh in my project window so i don't know if there's an audio warp plug-in but there's kind of audio warp functionality so let's say i listen to this particular drum loop and as we listen to it and i have my click track turned on we can hear that this loop isn't fitting with the timing of the particular track okay so if we were going to do audio warping what audio warping would allow us to do is there's kind of you know two approaches to it one is we could come directly into the loop and create warp markers and then from the hit points and now when we go to free warp i could move individual parts if something was a little late or a little bit early we could do that if i wanted to take an event and quantize it so let's say i like this to and i'll just let's say change my tempo to 97ish here to match just from the name so if i wanted to quantize this if we open up our quantize panel we could activate this little warp uh audio warp mode so when i quantize i could just say let's hit q and now this will shift the audio so let's say if i do something like quarter notes so now i do this that will kind of shift the timing of that particular audio file um and let me do this so let's say if i wanted to do that again let's say the quarter notes that now we can just so or if we want it to be eighth notes now if we wanted to play something in musical mode let's say right now we're at 97 beats a minute and i change my tempo to 120 that now the tempo is sped up but the audio loop is playing at the same time as it was originally and that's how traditionally audio would work but what we could do is enable musical mode and now that musical mode is enabled yeah we see that when musical modes enable we see this and when it's enabled the audio file will play back and it will change the playback speed of the audio to match the tempo so now it'll play back at whatever tempo we have so if i wanted to come here so musical mode will allow you to just kind of type in new tempos even while the loop is playing and then the audio can just kind of stretch in real time to match and that's what musical mode is intended to do all right we see jvi is the proud owner of like number 93 so be great if we get to 100 likes soon i know we still have some more time and thanks for all the likes and comments and questions um all right so you see from kaiwen franklin i was wondering if that drum beat program in cubase could please update the cubase beat designer i really like that feature that is in logic pro x uh awesome when working with loops so if you want us to tell us like how you're working with loops within the beat designer uh you know there's some functionality built into like the sample editor as well as the uh groov agent sc so if you let me know kind of what functionality you're looking for loops i'd be happy to kind of see if we could do it already alright wonderful to see graham witcher on the live stream okay so we see uh from uh from kai uh will steinberg make 64-bit only versions of cubase and whey and or wavelab so you know currently cubase and wavelab are only 64-bit uh so i think since cubase 8.5 and maybe wavelab 9 so they're only 64-bit currently i believe so i'm pretty sure i can't remember the exact time wavelab went but um but cubase is 64-bit only okay so we have a question uh what precisely what is precisely side chain and how to use it in cubase so side chain is kind of often used to take one audio track and do processing on it from the basis of a different audio track and that's often called kind of like the side chain input so and a very common method is like for like edm music for kind of taking a bass sound and being able to at that point say okay i just need to um okay so here's the project and i need to have the bass kind of duck so that we can hear uh we can hear the kick drum come through so let's say if i listen to so when i listen to that it you know i don't hear the kick as prevalently because it's kind of being covered over dynamics wise by the synth bass sound so i'm going to go to the synth bass sound and a lot of times people would use a compressor and then we could activate the side chain so we tell this compressor to look for an input and directly to the right of that we can go to set up our sidechain inputs so we can use multiple input input tracks so now we add our side chain input this compression will kick on the synth bass track when the kick drum comes in so listen to it now so that's kind of the intention and sometimes you could do it with you know ducking effects you know so let's say you're doing a film and as soon as someone starts talking in dialogue all the music can die down so stuff like that um that's that's a very common workflow as well but like kicks and and uh kick drums and bass is a very common way of doing it and you would even see some cases in the 80s like in rock production where the snare was so important that the rest of the uh the backing track to make the snare pop in the mix the rest of the backing track was kind of compressed as soon as the snare hit so that everything would get compressed so the snare was louder so that's kind of some different workflows with side chaining all right so we're doing great on time thanks for all the wonderful questions all right uh so we just see um could you tell us something about cubase 12 no problem if i cannot so the only two things have been publicly announced is it will be using a new licensing system that won't be reliant on the usb e-licenser and that it will be apple m1 native support all right we have clayton checking in thanks for joining the live stream and we see other people are happy to see daryl in the live stream the wonderful daryl pearson all right so we just see can we use vocal as mp3 not wave um so generally you know mp3s you can't really edit mp3s so you know and mp3s do have you know some sonic degradation so when you have an mp3 when an mp when you open an mp3 it's going to convert it into a wav file so that it can be edited uh so it's going to be so we can't really you know we can import mp3s but everything that we're doing is going to be kind of at you know full resolution audio so and since we can't really edit mp3s you're going to be able to just come over here and you know that's why it loads up as a wav file um all right so i see thanks greg you rock is from uh benny says how long have you uh used cubase so i think i'm probably just at about i may have my 30-year cubase anniversary uh probably right around now um yeah so it might be just right around 30 years now i remember getting it before thanksgiving uh and when i was a senior in college so and i did a project for my music industry professors i did sequencing for a whole project the next day and i you know made 150 profit and i was like i like cubase a lot so and been using it ever since all right um okay so i just see a question um something says sometimes using cord pads the pitch goes up and down how to turn this off so i haven't really experienced that so let's say um [Music] if i come over here and let's say if i go to my cord pads here so it will respond to if i'm triggering the cord pads it will respond to pitch bend when they're triggered i'm not sure if you have pitch bend but if i move my pitch bend wheel they will reflect the incoming midi pitch bend message so make sure that you're not doing that and try to see if you go to preferences to midi to midi filter if you on record and through if you just filter pitch bend if that stops it for you but maybe it's just that but i don't usually have it you know unless i'm hit the pitch bend wheel on my controller so you could check that it says this happens when you hit the pad a lot of times [Music] so [Music] um so i haven't really had that happen but you know also depends maybe on the pitch that you're on the instrument sound that's something else to kind of check um to see if as you're doing it if the instrument sound itself changes pitch if you sent you know if if it the behavior changes on different patches or different instruments um all right my timeline jumped on me so all right let's just try to find my spot sorry about this um so i just see from sergo says how many hours per day and per week do you work with cubase so i'm usually in it a couple hours a day you know obviously on live streams it's uh you know four hours for that um and usually on weekends unless i'm doing something like a personal thing i try to you know because my cuba setup is in the studio it's in my office and i try to you know i may occasionally do stuff about try to spend time more with my family and you know it's i remember having a discussion once with ernst uh who founded propellerheads uh kind of you know in a bar in uh at a frankfurt music message like you know it was like what do you do when your hobby uh you know like your passionate hobby turns into your job and so but um but i think i have my 10 000 hours in um but but i'm usually trying to you know solve problems for different people that will reach out to me as well we have michael marshall checking in from somerset in uk uh so we see hi greg do you know if buying the full version uh cubase pro 11 right now at the education discount would qualify you for the grace period free update to cubase 12. so any license for cubase 11 that's activated now uh qualifies for the grace period i think is november 10th so you should have any problem see jazz dude just mentioning uh i think it was a hand zimmer quote i love composing in d yeah i remember hanging out with him once and he's like oh can you write it can you write something other than in d minor so yeah it was his favorite key i think okay so we have a question uh can you explain marker tracks please okay so marker tracks in a project so like here i have a marker track and this will allow me to kind of have um and i'll just add another marker track below all right so marker tracks kind of or we could think of it as like a guide post for a project so we can just come over here we could add markers in uh you know these markers could be you know and we could hit control or shift m and i could now come over here and just say okay this is our intro verse of course whatever um so we could have two different styles of markers we can have just a stationary marker and then we could also have what we call cycle markers so if i have let's say my range selection tool i could select a range hit the letter p and that sets the left and right locators then we could hit a cycle marker and a cycle marker could be you know for a whole verse or a whole course as well so at this point um and we could have up to 10 different marker tracks uh you know within a project and this just allows us to navigate and once we have a marker track you know you could just hit n to go to the next marker or b to go to the previous marker as well once that track is active so if you want to quickly jump to okay i'm listening to the verse now i want to go to the course let's go to the intro you could just quickly navigate throughout your project as well and if you're doing post-production you may have marker tracks set up for each character in a scene that's talking so that each line of the film could be tied to a particular marker track so that you can navigate quickly but it's just think of it as like a little sign post or guide almost a map of the project so you could quickly navigate to different sections all right so we see question uh i can add a chord track that reads uh a recorded midi piano so yeah all you have to do to do that benny is just come over here so i'll activate this project so let's say i have just a piano part here in this project so i'm going to select the piano part and what i'm going to do is go to the project to chord track and say create chord symbols and i usually include the base notes and tensions and then once you do that your chord track is automatically created and populated with the chords based on the midi piano part so once again just come over here to project to chord track create chord symbols okay so we see uh from john costigan uh hello greg i hope all is well is it okay to add a measure zero or even minus one in a project setup well into writing a project uh didn't know i needed it so let's say we wanted to add maybe negative bars i'll just do this maybe with a project let me just jump over here because i had a negative bar in that okay i'll revert okay so when i look at this my project starts at minus uh at measure one um but sometimes you may need to give yourself like you do this whole thing is like oh i just want to do like a one measure introduction or i want just one measure like a courtesy measure now we could do this by going to your project setup and you could do this at any time in the project without consequences so if we go to the project setup uh and we'll say bar offset so i'll just say let's do two bar offset and you'll get this message and sometimes these could be a little like you know cryptic to understand but it says do you want to keep the project content at its original bar position so i'll say yes so i do that so now we see that bar one is where all the music starts and we have a bar zero and a bar negative one so we added two measures to that and then you know just be aware of the question do you want to keep the content at its original bar position and if you say yes then everything will still all the measures will still line up as expected if you say no the project will start at negative measure negative one so that could be weird if you're printing out notation parts and it's like uh can i go to bar you know measure negative one to start you know so just be aware of that but there's no real consequence to doing it at any time throughout the project john all right my time line jumped on me so let me just okay um so we see hello greg can you show how to warp multi-track like fix one snare hit warping only that one note um so you know currently there isn't um you know so the warping so once we are you know warping you know let's say if i go to my snare let's say if i go to my kick here and i have multiple kicks so currently warping is going to be for one event at a time so you may have to do it manually for if you have like multiple kick tracks so let's say i wanted to create warp markers here i wanted to create warp markers here and warp markers here we would still have to you know if i'm here let's say a measure you know 18 or you know whatever measure and i wanted to adjust and i'm in free warping that there isn't a way to tie it so everything would have to kind of be done you know one at a time so you know i know it's a common feature request that the developers and planners are very well aware of so you know hopefully we'll see something in the future to make that uh easier for people to do okay so we see from gareth uh hi greg dumb question i've forgotten how to color folder tracks all right so i think if we just select the folder track here that we could colorize it just by clicking directly here on the folder so whatever that you want to colorize the folder track you can just colorize right there so just from the inspector and then your folder track can have its own unique independent color as you see fit so all right and let's say uh if we wanted to do this for effects and groups so i'm gonna add uh group tracks and i'll just create it inside the folder so now we have this folder here so then we could just colorize the folder track right there so same concept okay so i think this uh further clarification um or just a continuation of our question from like every keyboard stroke is doubled every mouse click is doubled um so i don't know anything in cubase that would be causing it to only happen in cubase so but if you want to you know i if you want to send me an email i'd be happy to kind of do more research on it to see if anyone else has run into that but usually those things are kind of operating system dependent okay so we have a question uh from ted springman um uh so question is uh when i want to take midi chords and play them from single keys how can i record a whole chord structure piano style and afterwards highlight select midi notes of each chord and assign to notes so let's say if i'm here and i just add a piano so [Music] [Music] okay and let me just go to okay so it says uh when i want to take uh midi chords and play them from single piano keys so let's say if i have this set up here i'll just do a new project here um and play them from single piano keys how can i record a whole chord structure piano style and afterwards highlight select midi notes of each chord and assign it to notes okay so let's say okay so i'm going to start this with okay so let's see if i can okay so let's say if we have the cord here um i'm going to let's just do something very similar to what we just did i want to again go to our chords under project to the chord track and we'll create our chord symbols and then you could say from the chord pads so let's say i will unassign the pads here then from the cord pads we could actually just if come here we could say load uh just assign pads from the chord track and then you could just trigger the chords from one single note here one other way that may work ted is a midi plugin as well so let's say if we come over here to midi inserts there is a quarter plug-in so you could say you know when i play you know a let's just pull up kind of a preset so let's say now when i play different uh chords that for each of the keys that you could you know play different so you're able to kind of play different generate chords from one single one but i think the fastest way may be to actually just kind of take that and you know just do an analysis of it create a chord track from it and then from the chord pads just assign pads from the core track and then this will show up to play and you can trigger these from midi as well all right so just see um can i link different parameters say in the eq to the same control knob um so generally you know most of the time it's going to be set up so that what you have one parameter per knob because otherwise there's lots of uh you know there could be lots of inadvertent consequences um that could you know bite you later um so you know by default a lot of things you know sometimes you can take um you know depending on like the midi learning function so let's say if i just jump here so let's say if i wanted to [Music] you know sometimes you could assign it to different quick control slots and but you know it's really kind of intended to you know there's a lot more problems with having one knob that you move when you go to a different track that's controlling something you know two things unexpected so it's it's easier to set it up um so that you could have you know multiple functions uh working with their own independent knobs um some some controllers have that capability of doing it like the nuage controller uh but for a lot for a lot of times it'll get you into more trouble assigning multiple parameters to the same knob all right so we have neurotic nexus has joined us in the live stream all right so just see uh logical presets empty menu in cubase 10 how to fix uh in midi so if you had a you know a previous versions they are they will show up um so i'm not sure if you're on mac or pc but you know if you generally if you reinstall they'll show up if you have a previous version of cubase it could be that they didn't transfer over so if you don't go to safari if you go to like your browser we could come over here and i'm just going to click on my library menu and this would be under your preferences on the windows platform and if we go to [Music] preferences and then you'll see a cubase folder here [Music] let's say cubase 11 [Music] and then you'll see presets and then you'll see like a logical editor um you'll have kind of all of these this is where they all exist and if you can't find them if you don't have them um you could email me and i could just send them to you as well so yeah and i see that jazz dude's kind enough to put the directory for windows users on but if you don't have them on your computer and they didn't install you know just let me know and i could send them to you via email if you email me at club cubase at steinberg dot d e all right so um i just see a question would you please talk about headroom okay so let's come over here i'll revert this particular project all right so head room is a term that we hear in a lot of projects so let's say like this is a probably a pretty good example of having headroom so we can think of headroom as kind of the space between where our signals are and where our maximum level is gain structure wise in the mix so if i wanted to take all of my drum tracks here and adjust their levels i could get more gain sorry just my son's bus is home um so i could adjust so if i have all of my channels linked here as i just up i could get them louder but i could have less headroom for those signals so ideally you want a decent amount of headroom so that not everything is clipping you know it could sound good to have everything louder in your mix [Music] so if we had our mix like this this would give us kind of less headroom [Music] to kind of work with so we have kind of less dynamic range to kind of go up and down so and as we work with large projects if we have you know 50 tracks 100 tracks you know and you start to fill up all the space you know we could say okay you know like your mix is you know if you were to think of you know like we have to fit all this our mix has to fit into this bowl and we have to you know take a number of different ingredients and get it all to fit into this bowl you know but the bowl is only so big like the mix is only so big of what you know human can pay attention to in here so you want to make sure to kind of preserve headroom because you know once you kind of exceed your headroom and you don't give headroom it gives you less options down the road in working with your particular project all right all right so we see neurotic nexus just says i just heard about compressor side chain had an interesting discussion around old vhs machines and their built-in compressors obviously they had something uh like a comp uh yeah so a lot of boom boxes that was like really the poor man's uh studio because they had built-in limiters like old boombox tape recorders so you could be like a really loud rock band and put a boom box in and it would limit it so much it was kind of a unique sound so you know many demo tapes from the late 70s early 80s were done that way or the band is just playing like you know way too loud in a room and they just record it onto a boom box and everything gets compressed and it would kind of self-mix so i don't remember vhs machines having kind of built-in compressors but you know boom boxes definitely did okay so we see what are the alternatives of default pan for stereo positioning all right so if we have um a stereo track here so there's two different panning modes so there's a balance panner so if i wanted to look at this we could move you know just kind of look in this area as we move the pan control you know we could you know move this more to the left or to the right so as we're playing this track we'll come over here and just say i'm gonna listen to it on the right side or the left side now the other mode is com is a combined panner and this would allow us to set the width so if i wanted this to sound more mono i could set the amount of how far it's panning so if i wanted to say okay let's take uh i want it to be panned kind of monoesque but i want it to be panned to the right but narrow or wider to the right or if even if i wanted to invert the panning i could just continue to go up so if i just wanted to come here and say while this is painting just invert the panning you could do stuff like that so those are the two different panning modes so that you could kind of experiment with so you get different results so the combined uh panner that would also allow you to just say you know i wanted to you know pan more you know left to right and you could just kind of come right over here and just adjust one of the panning sides as well um so you see any idea what quarter uh 12 will be released if 12 is going to be november 22nd for example i may just switch to the daw i'm running on the m1 um so i don't you know i think all they've said it would be early next year so that's kind of where it that's the information that they've released now so it's usually more than is released okay so you see uh see neurotic nexus just says i want not to recreate the effect of the very slow increase of noise by a compressor like there's very poorly copy tapes when there's silence and all the noise came up yeah so a lot of times that wasn't necessarily the compressor it was causing it just kind of the nature of analog recording so and do generation copies oh it says i'm uh so you see neurotic nexus is saying he wants to recreate that not not to recreate it so one thing that you could do if you wanted to kind of mimic that um is you know one of the plug-ins that's helpful for that it's kind of an oldie but a goodie uh if you come over here i think it's under distortion um check out the grungalizer so here you could have noise um so you could add crackle if you wanted to you could have uh achom uh and that could be a 50 we'll think of that as eurohum or american hum it's 60 cycles but you could just kind of bring in kind of that distortion uh so say we'll just kind of add noise and distortion as you play and you can even have kind of like an eq if you want to sound like it's coming off a gramophone but kind of like that would be kind of very cassette like and then like the next time you make a copy so if you wanted to you know create that sound check out the grungalizer plugin plug-in i think it was like a nuendo one plug-in way back when or maybe even earlier to innuendo see trevor trevor saying he's been using cubase since atari 1040st so it's got to be like 30 years too so yeah it's probably right around there and then nixon can we get 30 plus years uh cubase t-shirts so i don't have one so but i'll ask all right so i see my video does not play it plays for a few seconds then freezes uh i use a free video envelope uh what rewires are needed in order for the video to be played in cubase [Music] so i'm not sure if you're playing it um so so you know there are like you know particular video codecs uh and containers so if we just come here you can say video support in cubase nuendo dorco wavelab so i'll just do this search so if you're trying to do it inside of cubase you know there are you know like videos whereas that videos are going to be like really different than wave files the wav files are very standard and video files will have containers like so you say oh i have an mp4 file but that could be like a thousand different variations on an mp4 so the mp4 would be kind of like a container and then you would need to have different codecs that would actually um you know play and work within that particular container so these are always constantly moving and adjusting but there's some standards that are kind of used within the industry so if you convert it to one of these and there's a you know lots of different utilities to convert videos to these particular containers then that should work um if it's like you know sometimes even people will do it on cell phones and the cell phone will have not a steady number of frames per second where it's constantly fluctuating to save space so it's smaller on your phone and you could upload it and put it into like a text message without as much compression but without like a constant frame rate that could be problematic for any video program so you know make sure that you do it if you you could kind of read up all the different um you know supported video frame rates and codecs and containers right here in this website so just do a google search for video support nuendo cubase wave lab in dorco and then you should be all set okay reading through comments okay just lost my spot all right uh so we see which uh dock controller works best with cubase i want at least eight faders um so if you want the absolute best one and i realize it's prohibitively expensive it's gonna be the yamaha nuage controller uh but if you're looking for something that's very reasonable there are a number of different mackie controls that are are really well used you know some people like i'm use a nectar panorama controller in my setup so that's what i'm using is my controller here so sometimes you get a mackie control functionality integrated within a controller keyboard but you know even a behringer i think a bcf 2000 i'm not sure if that's the exact model number but it's like around i think it's also around 200 in us is a very common choice as well all right so um so we just see from jay is uh would you be kind enough to convey that due to the abbreviated versioning cycle lack of 0.5 version that some would like to see reduced upgrade price due to current economy thank you so you know i'll definitely mention it to them but you know i think it's going to be kind of the you know the average uh price between it and you know i think and a lot of people you know when they would get a 0.5 update you know would get all a lot of functionality that you know other companies would sometimes you know wait for two or three years to implement so but uh you know they understand that you know the economic situation but realize that you know cost of you know doing business and creating software has also gotten more expensive as well so uh but i'll definitely pass that along okay uh so we have cush checking in from san diego thanks for joining um it says greg i always miss how you associate the chord track uh with a particular midi track um so you know one of the things that you could do is let's say if i'm here i'll just do a new project just to show it okay so let's say if i'm [Music] now playing [Music] so if you want to you know you could just have this kind of automatically set up uh and you could just you know once you do that you could also just have uh if you go to the midi inputs you could have the chord pads automatically be the midi input for that so you're not recording the trigger node but just the actual note itself or just the actual chords themselves that will be printed so in the midi inputs you'll see a chord pads midi input port selection so let me know if that it makes sense okay um so we have question what's the best setup to create song uh how to set up a negative bar okay so if we're right here um we go to the project setup so let's say um we now have our song starting at measure one and if we wanted to come here we add a ruler track and we could have the ruler track added and we'll look at seconds here so we see that we have measure one starts at zero seconds but if i wanted to set up a negative bar i could just go to my project menu to project setup and we'll see display bar offset and i'll set this to one and now we'll have a negative one bar or a zero bar and then if we wanted to do that again and set up two [Music] i could hit okay and now we have a negative one bar so the time will kind of start at zero seconds but at minus one measures measure zero measure one so again in the project menu to project setup display bar offset see john koskinen is right from a similar question thanks for the free measures greg so you're welcome all right um so we just see uh from benny um so uh question can you record film innuendo 10 at the same time as recording for example guitars nuendo and cubase don't record video and they don't capture video so they're going to import video files that have been recorded into a different program or imported from a camera or a phone but it doesn't actually record video seeing a lot of comment about the adele special that was on sunday night so i heard lots of good things about it didn't get a chance to see it yet reading through comments seeing jeff szabowski saying jvc made great boom boxes it's still reading through comments all right um all right so we just see hi greg could you explain how cubase works with midi and hardware a bit more in i guess in depth i really enjoy your streams but they always involve software and vsts problems it'd be great to see more about midi so you know it's really all you have to do there's two approaches one is we could try to treat if you have uh an audio interface with more inputs um you know you could take you could treat it as an external instrument but most of the time if you're dealing with external midi just add a midi track and when we add a midi track this would we can set our midi inputs and then any midi interface that we have installed in the operating system and we could see that when you get to your studio setup you'll see all of your midi ports that are available so if you have like like in my studio i have two uh you know steinberg mid-x8 uh so i could use so i would see all of my 16 midi ins and 16 midi outs and i could connect all of my devices with that most more contemporary keyboards would have usb connection so if you have a usb connection and the computer and the interf the instrument is connected via usb you would see all of the usb output ports available for those instruments so at that point you could just you know record you know midi data just like you would for a virtual instrument and that's going to be routed out so this midi gets sent out of this midi connection wherever this port is connected to whether it's a midi interface or to a usb uh port on an instrument and that will send the you know that will send the midi to the device and the audio from that will be generated by that device now many people will if they have large external midi gears have a big mixer where they could take the audio outputs of all of their different midi devices and in my studio i have two mac e3204s i have 64 uh stereo inputs um so i have a six i've you know it's 32 stereo inputs i have 64 ins between the mixer and the expander so i could have a lot of external midi gear all connected uh directly into the system and then i could choose to monitor and i take my audio interface into the mac e3204 and i monitor out of that for my audio as well now if you wanted to we could also just come over here go to your audio connections if it's like a single device and you have available inputs on your audio interface we could set up an external instrument where you could say okay i have my yamaha montage and i want to connect it directly into uh my audio inputs and then i could just basically run a when i run a software instrument i would say okay let's add an instrument track and then i would just come over here and we would see external instruments i say okay let's go to the montage and i would say add track and then i could have the audio signal so the midi goes out to the audio to the instrument and the audio out of the instrument goes to the input and this would allow us to run through different effects so just be aware that you know just you know a lot of people expect the audio to be transmitted over the usb and if you're using another audio interface it's not going to work so you may have to have an external mixer hang on just one second my son's knocking all right um all right so let's move on okay reading through comments here okay so i just see what's the best input so it says my interface when i use my input is so low i use yamaha 03 shell i always use the signal and use my plug-ins um so i'm not sure which interface is a yamaha o3 um i'm not sure if it's um if it's like a like uh an audiogram 03 but sometimes some of those the usb output can be low um so but if you could tell us which audio interface that you have all right and quickly we had a question uh mailed in we had one question mailed in advance this time um it was a groove agent question so let's get to that before we run out of time thank you for all the wonderful questions and the question was if we had everything set up in um groove agent using its internal mixer so let's say that we're playing along here and so say i added more reverb and let's say i select my snares and i just wanted to apply like an eq and compression let's say an envelope shaper [Music] so and i had all my different effects carried over it was how to get all of these mixer settings from the agent directly into cubase um so because these are kind of using like you know very similar effects um that we would see in cubase when we go to our different plugins that we have here so at this point what you could do is right click on the agent and say export mixer and effects to cubase and then once you do that all the settings from the groov agent mixer are now carried over directly into [Music] the cubase mixer so that you could just start immediately right there okay see comments on my son knocking he was very excited he got his he got had a kite that got stuck in the power line so he had his new kite arrived today okay so i just see a question uh granular in hallian so yeah if you have the full um so you know there are there is granular synthesis inside of hallian so let's come over here and so let's say we go to halley in six okay so we'll come over here so like when we go to actually start um you know we could just come over here so let's say if you wanted to do you know a brand new zone so here you could just kind of add your granular zone but we'll show you some of the you know granular options so if you want to get into so here we could just kind of come over here [Music] and you can kind of see the waveform here and go through the different samples let me just load up but yeah so there's full uh granular synthesis [Music] [Music] so yeah so how ian definitely has that and all right we've got about a couple minutes left all right so let's go through almost caught up i think about five minutes behind it's my quest to catch up with the live questions all right we see michael pierce turning in a little early you know it's late there thanks for joining us i'm sorry that's actually anima is more of a wave table synth sorry about that for my brain cramp but but also you know you could get into more of your granular oscillators as well so sorry for my confusion my brain cramp okay so i just see the sound card is a yamaha eg03 so i'm not that familiar with it but i know like my um you know you may have to like really crank up all the input gains i know yamaha could be conservative of where they take the usb audio output um like the interface i'm on now is an mgxu mg10xu and i have to have like the mic pre you know and the level you know completely dimed you know uh to the max so um so you know sometimes you know there may be a setting to set the level or within the operating system as well all right so i think i finally caught up to the live stream um so i guess we could end a minute or two early we'll see if there's any more last-minute questions that come up and we'll just give it another minute if that will wrap up i want to thank everyone for uh all the great questions and for uh being a part of the community making such a great experience for everyone and i hope everyone has learned something new and if you learned a new tip or trick make sure that you do hit the like button um we will be doing this friday uh just a heads up a week from friday uh will be a holiday in the united states so we probably won't do a live stream it's kind of the day after thanksgiving uh so just a heads up with that and but we will have our usual zoom meet up the following tuesday which will be the last live stream of the month so i want to thank everyone for joining and with that we'll go and wrap up and everyone have a wonderful day and we'll see you back on friday

Channel: Cubase

Views: 6,487

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: wWEiiDcudBo

Length: 237min 5sec (14225 seconds)

Published: Tue Nov 16 2021