What Is The Best Way to Delete Files From The Pool | Club Cubase March 16 2021

hi welcome to the march 16 2021 club cubase live stream so we'll get started in just a couple minutes i'm going to do a quick audio test to make sure everything is coming through on my end on my test monitoring computer all right everything sounds good there my name is gregundo i'll be the host for the live stream today if you have not attended a live stream before how it works is you could uh ask questions in a live chat field or you could just simply send questions in advance to club cubase at steinberg dot d e we will try to go through all the questions chronologically so um we'll try to get through as many questions as we can today i may have to there's a slight chance i may have to uh go a little shorter today to pick up my son from school my wife has an appointment today and if it runs a little bit late i may have to be the one uh that picks up my son from school so i just wanted to give a heads up about that um so once again my name is greg undo i work for the steinberg u.s distributor yamaha corporation of america i'm based in the united states just outside washington dc in alexandria virginia for those that are watching the hangout live if you want to uh just tell us who you are and where you're from and then we'll get started we'll get some people logged in also if this is your first hangout make sure that you let us know that and we'll get to start it with all the questions in just a moment i'm gonna clear my throat mute my mic hang on all right so um there's a couple of other little um stuff that could be helpful we will try to get through as many questions as we can the ability for people to ask questions can far exceed my ability to answer them in real time so if you have a question i'll try to catch up to it uh if you know so if you have a question you don't get an immediate response please you know if we could try to refrain from asking the same question repeatedly it won't uh speed up the response to the question it just kind of slows down the whole hangout a bit so we could try to avoid that also while you're uh asking questions if you can maybe clarify if you're running uh you know cubase pro 11 on mac or you're running cubase elements 10 on windows that information your operating system and which version of cubase that you're using so but we'll get started in just a couple minutes let's go ahead and see who is on the hangout so all right so we see uh we have crown the artist from st lucia i was on vacation there a couple years ago in marigo bay it's a beautiful island took my son to the volcano you like that all right so we see sir robert from atlanta we have ace amadeus from texas we have rob from tarpon springs florida all right tim from mission viejo it's great to see you on the uh on saturday's uh zoom meeting as well as uno from finland he was on as well all right and zorin from sweden all right we have john cost again he was on so from kenosha all right so agent k so i know we had some in some parts of the world we had our daylight savings time in the united states but i don't think it's happened in europe yet so we may have some people joining us uh in an hour from europe so we'll see how it goes all right so we have uh matt from london we have scott from racine wisconsin all right we have jazz dude all right so we have keith hirsch one of my colleagues at yamaha great to see you on a hangout keith all right so we have captain energy music all right from harrisburg and also from pennsylvania at taylor from pine grove just north of harrisburg all right so we have kent from sequim washington all right so we have someone from kiev all right all right so we have sub 403 all right so we have d brown's the first hangout today welcome to the hangout feel free to ask any questions all right so we have belgium senegal all right so jan from stockholm who's been kind enough to do the cubase index.com where you can just kind of do searches for any questions that have been covered on the hangouts all right so we have theodore from london we have from instant bull okay so wait just another minute or two and then go ahead and get started okay all right so we have exodus from paris okay so let's go ahead and get started with some of our questions uh uh all right so we have uh crown the artist from st lucian and caribbean used cubase 11 artists and noticed audio alignment isn't on there is there an alternative way to group align audio and cubase 11 artist so with a cubase pro you could just you know we could do different aspects where we could align uh audio to kind of match the timing of two different sources like you know it's often used on background vocals or multiple guitar solos something that's kind of rhythmically intricate and we have this auto audio alignment panel so there really isn't a equivalent to cubase in cubase 11 artist for that but you could probably you know by time you would purchase a third-party solution to accomplish that you'd probably could just upgrade from your cubase artist to cubase pro 11 to get that functionality and lots of other functionality but there's no real way within the artist version to do group aligning of like one audio file to another okay so a question from ace amadeus hi greg i hope you and your family are well i've filled up my hard drive in cubase 10.5 uh what is the proper way to move uh and slash route my large hallion expansions groove agent custom drums to external ssd so if there's a little utility that will be installed with cubase and it's going to be called the steinberg library manager and really all you have to do is you could go to all of your groove agent sounds and these this will work for all of your factory sounds uh so i could select these and then just click on move and uh if you wanted to just come over here and just you know move you could specify a new folder so if you wanted to take you know like maybe have a smaller capacity solid state drive as your system drive and then you are uh you know wanting to you you purchase like an external drive or a larger drive to hold all the samples you could choose all of your hallian libraries here and just move those you could define kind of a default folder but your groove agent all of your cubase content all the different loop sets and sound effects all those can be just simply just select and move and specify the new folder and then as you uh are working you know that way the the links between where cubase goes to look for the samples for all the instruments all the loops will automatically be tied so just look for a little utility that's installed with cubase called the steinberg library manager and that could you know greatly facilitate the ease of moving all of your content libraries to another drive all right so uh hey greg i've been working with bias fx2 and cubase 11 pro recently do you have any tips achieving better guitar tones with amp simulators especially metal tones thanks so a lot of times you know there's oh you know sometimes and i see this with a lot of my guitar playing friends you know that they tend to rehearse alone uh and as they practice they may not practice you know when they're doing it alone and sometimes what could be a full featured sounding uh production so let me just make sure i have this set up going out of my yamaha speakers here so you guys can hear so a lot of times what i see mistakes in is as people are using like amp simulators is the guitar players when they're listening to the guitar by itself um they tend to have more frequencies like you know they'll have more low end and more high end to make the guitar sound you know more full they'll often have kind of more frequency spectrum but in context of a mix you know the guitar amps are going to be very much in mid-range and yeah in talking to you know when i hear guitar players talking they're like oh i have so much low end and so much you know of this going on frequency wise but you realize that most of their energy is going to be in the mid-range and as they work in the mid-range that you want to figure out that each instrument you know if we were to kind of look at a mix you may say okay like if we were to think of a drum set you have like your kick low tom snare hi-hat symbols they're kind of spread across the harmonic spectrum so a lot of people when they're doing some guitar stuff try to take the whole harmonic spectrum instead of just their little piece of the pie so the base may have his little piece of the pie the keyboard player may have theirs you know and the guitars and keyboards and vocals often have to kind of sit within the same frequencies so you know i see a lot of people trying to have too broad of a frequency spectrum and wondering why it doesn't kind of fit in in the mix as well where if you kind of just concentrate on particular frequencies you know like on this example you know i have my two guitar parts [Music] and then if i wanted to just open up let's say my vst amp rack this is the amp that we're hearing [Music] so if i wanted to now look at this vst amp rack so at this point this is our you know direct guitar sounds and then as i turn this on so with this i have these panned you know like the two guitar parts panned hard left and hard right and then i could have their effects kind of panned in the opposite channel but if you want to listen to that kind of in context [Music] in context [Music] so you know beware of kind of the frequency range some people just go you know also with any you know like more metal tones you know some people just go too much distortion and you want to you know sometimes just dial the distortion back a little bit and make it fit better in a context so you know try to carve out the frequency spectrums try panning you know hard left hard right if you have like two parts that are identical and you know there's lots of bands over the years that you know having just kind of different tonal flavors of you know maybe a single coil versus a humbucker um you know different cord positions those things can make a big difference in making your amp simulator kind of fit better within your particular track okay okay so a question from rob i have imported a stereo wave and i would like to separate the two channels left and right uh onto individual tracks uh is that doable certainly so let's say if i wanted to add an audio track here so make it a stereo track it's pretty easy to do this in cubase so i will just come over here let's drag just a an audio file that'll be stereo so i have my left and right channels here so to do that i would just select the track go to your project and to convert tracks and we'll say multi-channel to mono uh i could keep the source tracks uh i could you know take the source tracks we could just say okay i wanted to mute them just the selected tracks all track so if i wanted to mute uh or we could keep the source tracks delete the source tracks create them into a new project i can now hit ok and that will take those particular files and just automatically split the events into your separate tracks so you could just now come right there so it'll be split to your audio left right so again just as soon as you take that just go to project and to convert tracks and just say multi-channel to mono and you could do the opposite which is mono to multi-channel as well so if you have two mono tracks that you wanted to put to a um you know directly to a stereo track or to a 5-1 track you could just kind of do the opposite function all right great to see agent k in the hangout who's always kind enough to do some moderation as we need it okay all right so see question from swarn greg what software is bundled with ur 22 can one get that software bundle when buying the ur 22 second hand so generally you get cubase ai and you also get which is kind of a scaled-down version of cubase and the ai stands for advanced integration and that's what comes with yamaha products because there's often some special hooks and tie-ins with yamaha and steinberg products so as uh so with that you get the cubase ai the recording package and you also will get some dsp uh effects plugins with that so if you wanted to take a look you could go under distortion you'll have what they call the ga classics so these are different guitar amps from yamaha also under reverb we had some discussion on this i believe in our last zoom meetup you could have the rev-x reverbs and these are very high quality reverbs and you'll get a under dynamics kind of a morphing channel strip so this will be kind of uh an eq and compress and compressor combination where you could kind of morph to find kind of the optimum kind of sweet spots for different uh different areas so you get those plugins now if the person has not installed or activated the license of those plugins they will be available to be passed on if the unit is sold second hand uh otherwise if the person has activated that particular license you know you may you know you could get it on an e-licenser usb key and have them you know basically you know transfer the license to usbe licensor if you want it um but if they've already activated it you know the only way for them to really get it off is using a usb e licenser and that way you could transfer those licenses to your computer and onto your usb e licenser as well okay all right great to see jazz dude on a hangout so he's so helpful keeping up with more real-time aspects of the discussion and he does the uh cubase nation discord so if you want to get a bunch of information on cubase products check out the cubase nation discord as well so we appreciate all your work you do both to yawn and to jazz dude and to agent k for his moderation okay so we have a question uh does a pre-fader send include inserts on the channel uh the send is coming from so it if we have uh you know a pre um so you know the inserts will be kind of just laid out for us so if we have let's say on this particular track and i have my compressor let's say i i'll do some dynamics processing let's say we'll just throw a squasher on there as an insert you know and we could think of this roughly as the signal flow so we could have our inserts let's say our channel strip uh so if i wanted to now come over here and run it through an envelope shaper and then we have our send so if i just wanted to have my sends here so you know so this you know this information will be in the audio so the inserts the channel strip and eq will be in the channel before it hits the uh before it hits the sends and you know the send level whether it's going to be pre-fader or post-fader it could just be determining on you know it's really more of a factor of you know if the the gain coming from the fader affects the signal balance kind of going into the effect so if i wanted to hear the effect without the source track and it was on uh pre-fader we could just have that kind of set up and this won't really have an impact on you know of the effect so regardless that would in pre-fader it's going to basically just have the effect uh at the same level and it's not going to be affected post fader would be where it's affected you know by the actual amount of gain coming from the particular fader so but you know if it's pre-fader or post-fader though both will have the different sources it just matters how it's kind of how the fader affects the gain structure of the send okay all right so we have greedo checking in from the netherlands all right so see from uh alain from toronto um so says uh happy to be here want to know so you sent me an email do you answer here by email uh sent in a few but didn't hear back so i think i got some of the emails uh but if you want to just ask your question again uh we'll be happy to cover that in the live stream today all right so we have rasheed from senegal all right and always wonderful to see yon from stockholm okay all right and occasionally as what just happened to me my live chat field will jump on me so i'll apologize in advance for that all right so find my space in the chat okay so just see a question uh would you answer in questions in the chat so um so if you ask in the chat i'll probably show it in the actual demonstration i may not answer in the chat itself but often other people may be able to all right all right so we have steve checking in from windsor massachusetts alex from [Music] from l.a checking in all right so we have filter freak from southern uk and the triage uh e-group from boston great to have you guys on okay uh it's a question i want to add date created and date modified as columns and save that as a default when using load effects chain preset menu it cancels my additions and goes back to the program by default all right so let's say i will come over here let's do like an effects chain preset okay so i'll just kind of drop in a couple plugins here okay so now i have this and i have my inserts here and i want to save this as an effects chain so i will save an effects chain preset so we'll just go ahead and all right so we'll call this scott and we'll say march i'll just say march 16. okay so now let's say if i go to my media bay and i'll just go to my full media bay window just close some windows okay so i will just come over here so let's say we're going to go to um our effects chain presets and let's see if i if it shows up here real quick you may have to okay so let's just see if we can get it to pop up in our media bay again so should be all right let me just see if i can could show up over here real quick all right so here is this um okay so it says i want to add date created and date modified as columns and save that as the default when using load effects chain preset menu cancels my addition goes back to the all right so let's say if i come over here i do uh save effects chain presets so i will just call this let's say scott march 16 20 21 and i could see that kind of in the name [Music] um so i don't know if there's a way to um all right so let's say if i want to come over here to media bay all right so say let's get to our effects chain presets so here i could see [Music] the date modified function and if i wanted to so let's say a date created function so let's come over here to our media i'll just come right over here let's just um look for date created okay so now when i just come right over here we'll have our date created and now anytime that we go to look for different uh effects chain presets you should be able to we'll just get out of this so you can see that now you have date modified and date created every time that you should just go here so i'm not sure if scott if this will help but try clicking on the configured defined attributes in the main media bay and then under media just make sure that you have you know date modified and date created and then they both should i think this is what you want to do but i think at this point they should both kind of show up for whatever you want it to just see here so let's say set your effects chain presets and let's see if i can just rescan this disk but now as soon as we come over here you can see the date created and date modified kind of by default so let me know if that helps you out scott all right so we have a question from uh alex morgan um how do you make uh marker line show up vertically down the entire project uh cubase 10 pro uh it seems to only show a marker in the top and 11. i noticed it extends down to page so this was a new function uh that was introduced in cubase 11 so if i have marker tracks here so let's say i have just my marker tracks of like song structure so if i wanted these marker tracks to kind of be visible throughout the project we could just you know come over here and i'll just move this down so if i wanted those to be present we could just click and show marker lines and then we could just say you know from active marker line and now we could have you know those marker lines up here throughout the entire project if you want so again you could just say you know from active marker tracker from all marker tracks and this way they will show up and i'll go ahead and make this uh maybe a brighter color so it's a little more obvious as we do this so we can see kind of the marker lines um go through so this isn't a cubase this feature isn't in cubase 10 it's going to be a cubase 11 edition so it's one of the new things and if i wanted to hide the markers again you could right click and just set that to off and now you don't see the markers throughout the project right click on a marker track and we could say you know from the active marker track and now those lines will be just indicated throughout the entire thing so if you have version 10 you'd probably need to upgrade to 11 to get that functionality okay uh so let's see question i use uh cubase 10.5 i can't add the crossfade uh it views by gray color in audio menu so it could be that you know depending on what you have selected so if i have no event selected and i go to you know my menu here you may not see all of the particular functions that are active until something so right now it's grayed out but if i select two events i could come over here and now the crossfade is available because there's something to be cross-faded so you may have to just simply you know select two events or be in a situation where the crossfade can make a difference so now if i just hover these two events over each other the crossfade will become active so as we you know just have our different events overlapping and i may have to just change one little setting here just give me a second uh i'll just adjust my delete overlaps so now as soon as we have events that are overlapping each other the crossfade will become accessible so but if no events are selected and like what i had was just my preference for delete overlaps which would delete the events instead of having them over top of each other so if you have uh delete overlaps checked in editing right here in the preferences that may cause that as well but you know some functions in a program like if i'm in all audio my scores menu doesn't really show up much because there's nothing to really notate per se all right great to see michael teams on the hangout from weatherford texas and he wants everyone to smash the like button so i'll go ahead and concur with that that hitting the like button allows us to continue to do these live streams as well as if you subscribe to the channel that's always helpful uh all right so you have a question hi greg um if i have recorded something on an audio track and cut it into a few slices how can i then bounce them all individually in one go is this possible so there's a couple of different approaches to do this so let's say if i have this audio file here and let's say i'll just cut it and say i've done slices and just make sure okay so if i wanted to do this and this is all one audio file and i want it to be kind of contiguous i wanted to write these as separate audio files right now they're basically regions of the longer file um you could select these go to there's a couple of different ways um you know one is just doing edit to render and place and if you go to your render settings i could just say okay i want to do this dry and we could say as separate events and i could include different channel settings like processing so i could just say render and this will just take you know what was parts of one particular audio file and now it's just rendering them as equal length files and commute the original or you could choose to replace them as well so if i wanted to just select the track here and i could go over here and just choose to again render in place and if i have the track selected as opposed to an event selected i could just say let's uh remove the source tracks so at this point and you could give it like a name so i could just come right over here um we'll just call this since greedo asked a question and now i'll say render so we'll see that the name is carried over and we'll see 0 1 0 2 0 3 4 5 and the source track will just be gone and these are all separate and distinct audio files so again just come over and do the edit render in place and that's probably the quickest way to achieve that particular function okay all right thanks for all the wonderful questions um all right so we see robbie bowling from dallas is going to have to watch the event later so it's his other half's birthday wish your happy birthday from all of us at the club cubase live stream robby hope you have a great celebration all right all right we see michael teams giving kudos to yon for the cubase index site well deserved i see from jazz dude that the discord is a community project so you appreciate all you do to make that happen now all right so uh we have a question if i'm copying a short guitar lead from one place on the track to another how do i control whether it's grabbed from the left or right side of the segment all right so let me just come over here so say i have just a short so you know as we grab uh an event here so let's say as i as i come over here let me clear my throat real quick excuse me all right so um so if i'm copying a short guitar lead from one place on a track to another how do i control whether it's grab from the left or right side of the segment so you know if you you know want it to just move it you know so it's going to just you know holding down like your alter option key you can just you know copy it like that if you go to the right edge to the center you can make copies but it's you know as we do this um you know if you grab the beginning at bottom you'll see that you can kind of truncate the particular files and if we come over here just grabbing the event whether it's kind of at the left or right edge will just move the event itself and holding down like you know the alt or option key will allow you to just make a copy but it's not necessarily by the edge so generally when you're copying something um you know you could just say okay you know grab the center edge and if these were different colors let's say if i wanted to flip like the yellow from the pink you know we could switch our grid mode to shuffle so if you needed to just kind of reverse those you could just kind of swap the order by dragging one like to the beginning and those two events would flip like that but you know just copying it is just usually holding down the left and right mouse button without holding you know um or just holding down the you know grabbing by the right center edge or holding down the alt or option key as you move the event but it doesn't really matter if it's if you grab it from the beginning or the end of the event how it's kind of how it's being handled all right great to see chase uh on the on the live streams wonderful to see you on the zoom meeting this past saturday thanks for joining us okay so we have a question from elton uh i use the boss rc 505 505 as an audio interface i'm trying to record vocals on top of a backing track but when i hit record the backing track gets recorded on the vocals track as well any tips i'm just going to do a quick look to see if i can figure out i'm not familiar with that particular interface it sounds like it's maybe something like a mixer just take a quick look uh all right so i see that's a table station uh a loop station tabletop looper so um with these you know and i get this question a lot with uh some some mixers where it takes like a stereo output you know so if it's a looper a lot of times loopers are designed to take the signal and you know record it and have it play over and over again and then you could you know build different loops on top um but it could still be sending it may not be able to distinguish what's being looped from what's being transmitted out of like a usb connection and we see this with a lot of usb audio mixers where the you know someone will be recording and you know they they have you know the audio going into two channels of the mixer and they want to record the voice that's plugged into the microphone but the mixer itself is taking the two channels from the computer and combining that with the microphone like for the voice instead of just a voice because everything is being sent directly out of the same stereo output connection so you may have to go into the boss looper and tell it to only take only you know if it has a capability to only take the audio output uh from the in from the microphone input and record that and sometimes it's like a you know almost like a music minus features some of the mixers that run into this scenario can have tape inputs or or have a return channel on a separate fader so that the signal coming back from the computer isn't re-recorded so you may want to just look in your boss hardware and see if it's actually re-recording the signal um you know as the as the audio is played back to the unit some of them aren't smart enough to not you know re-record the audio that's already in your program so it could be just a routing you know it could be a routing assignment within the hardware itself because usually those items you know just have a stereo output over usb to transmit the audio and then it's like oh you know it's an added feature it's an audio interface but it's an audio interface it just keeps recording itself over and over again which is probably not what you want so it may not be designed to function that way and it could be just a way to capture the audio from that like looper device to a computer but it may not be designed as a typical audio interface where you know it's not recording just the input where it's kind of just created a loop so look to see if there's any functions in the looper pedaled you know the looper device to see if you could not return the uh the audio return or the usb audio coming from the computer is is just set out to be re-recorded so it could be a tricky thing with a lot of mixers that people run into okay um all right so you see from sub 403 i know we had some discussions over email about mackie controls as i figured out most of my issues uh you know regarding the mackie control is there a way i can midi map machine studios jog wheel to control cubase 10.5 playhead i've tried but the playhead only moves a few ticks so a lot of this could be set up you know it depends on if the if the encoder itself can you know if it's just transmitting one midi message or if it's transmitting multiple midi messages so a lot of times what you could do is let's say if i go to my key commands and you'll see kind of uh key commands for shuffle play so there's different key commands for shuffle play and i'll get my keyboard going to the correct computer now that'll help all right so i think it's going to be under let's say under transport i think it might be shuttle play okay so you have shuttle play and you can set these up as various key commands that you want so as you work with this you know if that will if you're you know if the knob is only transmitting one value um you know you could kind of have it you know transmit you know one value and sometimes it's only transmitting one value but it's not transmitting a value to play forward and it is separate value when you go back to play you know backwards so but what you could do here is um so i you could map these so i have i think it's command shift number two and number four uh and i think we can map these in generic remote so go to my studio setup and if we go to like a generic remote i think that we could go here to transport and device and let's see if shuttle play is in here yeah so you could now say shuttle forward uh two times so i will just have this particular note um i'll learn this note okay and let's say i wanted this to go back transport so you know if that encoder can transmit multiple midi messages which there's a good chance that it can't and this is what's needed for like a jog shuttle wheel um so say shuttle backwards two times okay so i will do just a quick learn on that value so as i play back um yeah as we play back i could just have this and let's see if i've just my control room so sorry so i could just send midi messages so most of them will just kind of so i could have one midi message that can you know do multiple things so if you have i think it's a contour jog shuttle it's a little like a jog wheel that's often used by video editors that that you know as you move the jog wheel it will do different stages depending on where you move the jog wheel because that's transmitting you know either different uh keyboard shortcuts or midi messages to get the various levels of the shuttle play but you could just come here and be able to do that so there's a chance that you know if the encoder itself transmits multiple midi messages uh instead of just less or more then you could configure it using the um you know just set up under transport device and then you could shuttle play you know up to eight times faster two times faster or one quarter so now if i wanted to do half speed um so let's say we'll do this backwards half speed so now as i would play back these two midi messages would just do [Music] and so you can set up different midi notes just to trigger those particular shuttle shuttle modes so there's a good chance if your machine does that that's great um and if it doesn't do it's a kind of a limitation that that device is only spitting out one particular midi message where it may need to spit out you know multiple midi messages both playing forward and backwards because they're all different commands all right all right so we see uh lawrence from rhode island great to see you on the live stream as well this past saturday and we'll do our next live stream at the end of the month okay so uh we see a question from yon how do i deliver a complete stems of my project a company wants to do a remix but they do not use cubase can greg explain tips and ideas what to think about metadata file names etc thanks so if we do this we could kind of keep like the same file name so i'll just do kind of maybe a smaller project here um all right and so let's say if i have you know virtual instruments going on and i've added effects so let's say i'll just come here and i want to make stems quite easily okay just so we have a midi track um so as if i wanted to do this the easiest way if someone isn't smart enough to be running cubase uh you need to give them all the stems so that they don't understand kind of your secrets so first off is to make sure to see if they want all of your signal processing yes or no so if they do want like all of your effects your inserts your eq's your sends um that's pretty easy to you know just ask them what they need first so you know having kind of good communication is always good so i'll just add a quick effects channel track to the selected so let's say we now have some different elements for our project so we would come right over here let's do an export audio mix down and we could choose to do multiple we could give it um you know different names if we wanted to we could choose what processing so if you wanted the inserts in the channel strip if you wanted everything to be disabled and dry if you wanted to do the groups and sends or the master effects processing so let's say they just wanted to um you know do the you know everything with no effects processing so i could choose disabled and then i could just come over here and i say okay i want to select you know my my effects channels those will get rendered my groove agent all of my audio tracks and when it's disabled my mono tracks will show up as mono stereo show you know stereo and let's say after export i wanted to just come here and say let's uh you know do this and create a new project so i'm doing just kind of a subset of the project for time's sake and i'll add this to my job queue and at this point we will choose kind of the audio file format so you can say they want 24-bit 48k 24-bit 44.1 if you wanted to be inter-lead files for stereo or everything to be split so i'll just start my q export let me cancel this hang on just one second all right so i did this with mp3 so i'm gonna just do this and i'm gonna add this to my queue so we'll now all have wav files we could choose to you know add there's different naming conventions so if you wanted a counter or just the channel name we could do that so i'll just say start q export so now it's going to take all those different files export them and it will just create a new cubase project and all the names everything has uh just been created right there so that's we come here this is our new project with all the names everything that's just been recorded uh directly or so here we could have a kind of a stereo mix out my reverb and all of my individual tracks and then you could send these to the person but just you know understand uh you know what you know check to see what processing if they have naming conventions and if they have naming conventions like you wanted to put your name or the band name so it can't get kind of lost you know it's always a good idea in most work situations to make it hard for the other people to mess up so you could say you know the artist name and you have free text that you can put in so you say this is yan from cubaseindex.com and you know you could you know just simply come over here and give a lot of data in the name so that you know no files can get lost so but that's kind of the basic principle for doing a quick export like a batch export for you okay okay so to see how would i put a series of tracks together as one track uh render uh track or is there a render track or is there more options so let's say if i'm understanding this right maybe you have audio files that are just maybe aligned kind of like this so if you have a series of tracks together as one track um so if you wanted to do this and turn those into you know one file you know there's you could so there's a few different ways of doing this so if you are wanting so let me just come here and say okay let's just select these particular tracks and at this point i could do a bounce selection i think this would work in this scenario all right so those would keep them since they're on separate tracks uh if i do a render in place uh you know we could just come over here and go to our render settings and i want to keep these as one event all right so and this would make it all kind of one event let's go ahead and choose long files sorry about that and then if i so that would keep it as kind of you know you could have those all's in one event you could also just do an export audio mix down so if i wanted to just do my export audio mix down and this will be kind of bound by the left and right locators so let's say if i just wanted to come here and yeah we could do an export audio mix down and we could just say create audio track and i just wanted to do a single export of my stereo out at this point i could so i could just add this to the queue and this would make one stereo audio file of all of the different tracks and imported directly into the project itself sorry i should have just done shorter one so there's a couple of different ways of doing it if you if they're if all the tracks are in the same time and you just wanted to mix down you could just take the left and right locators and that would take the multiple tracks so i'm not sure when you say i believe um if it's going to be in uh series if it's going to be just kind of laid out directly like that then you know if they're all kind of like multiple tracks at the same time we could just um do a standard audio mix down but if it's in series where they're kind of one track following the other following the other following the other and we'll go ahead and just take a look and we'll let this just get rendered out here quickly just give it a sec in our minute here all right so just seeing uh well we're waiting for this to render out so revx uh yamaha plate so those are some of the plugins that come with like the steinberg audio interfaces so and you know they're obviously highly regarded reverbs directly with the uh to come with the audio interfaces and you have those that are on board for dsp or you could just use them as standard plug-ins once you have them installed all right so we should be done here in just a second all right so hit okay and as we do this here's our one long audio file that was kind of all of these files in series just mixed down for us okay okay i'm just my chat field jumped on me let me just find my spot okay so see uh greg after creating a chord progression in a chord track how can i have sequencing or patterns to play piano and different rhythms like ballads funk blues rock latin with intro verse chorus etc so you know you could have the chord progressions and you know cubase doesn't necessarily have like you know you know give me a funk piano part that you know you could have your piano parts or any midi files that will automatic they will automatic they can automatically follow the chord uh progressions in a project um but we don't really you know we have you know some different patterns that you could audition like if you go like into loops and let's say if you go to like sql library you can see you know i just wanted like maybe acoustic piano and here you could you know just audition you know but if you want to do more like bossa nova type rhythms [Music] so let's say everyone do latin pop and these could automatically as i adjust the tempo would be tempo synced but i wouldn't say that you know i wouldn't necessarily you know some people would have expectations of thousands of different loops and uh midi parts like this and there's you know lots of companies and you know it's kind of almost uh a running joke for a lot of people where you know there's different midi loops that you can get that you could just drag those midi loops in um while cubase will have some you know it's not going to be like a repository where you have you know 50 000 different midi parts uh but you know any midi file that you have any midi event that you do have can automatically just you know react um you know to the chords but you know if yeah and there's a number of you know i think there might be a tune track might have easy piano that you could you know maybe a tool that's kind of more specific for that so all right so you see uh from alan uh says last week i asked about the direction articulations not showing their colors in the controller lane is this a bug is steinberg aware of the issue so i just had a meeting today and was had discussion about that so um so we're doing some investigation on it all right great to see glenn from suffolk virginia all right and uh walter blackledge from st louis uh i was able to hang out with the club cuba st louis guys last night on a zoom so that was fun okay okay so we have uh please advise how to load spectral layers file dot slp uh into cubase i'm so happy i could drop files into spectral layers many thanks appreciate all your great info um so i don't think you know if we had the spectral layers project here so let's say if i open this up you know and all right and if i had you know different projects here you know we could so let's say if i just wanted to and now if we save this let's say okay so i think if that's like the [Music] um so we can see that that's just the name of the project so that's when you use spectral layers kind of by itself but the intention is to be able to take a particular file here in the integration with cubase so i don't think cubase will open up the spectral layers project but the integration comes when you go to the audio and you could just go to extensions and now from within cubase you know load up that particular file and do the editing within spectral layers and now we could save those you know different functions um and we'll just go ahead and kind of zoom in here so we could have you know all of our editing done uh in spectral layers within our cubase environment but you know we still spectral layers still people you know it makes sense at times to run it in standalone so that you know if you needed to just do a quick repair and you're not in cubase or it's just running as a dedicated tool but this way you could use like the ara 2 technology and you could have you know spectral layers open within as an extension of your cubase editing environment so that's really kind of the intention of the integration with that all right so we have andrew from devon or devon in uk and john from new jersey thanks for joining the hangout all right uh so i just see how can someone help me with cubase 11 thanks this is from uh berto marto uh so yeah just let us know what you want to do you know there's about 18 million things you could probably do at cubase but you know just let us know what questions you have and then we'll be happy to answer any of your questions um to see from uh michael filling him um does greg do a facebook so we can collab ideas so i am on facebook but you could also just email me uh it's probably the the best way is just to email me at club cubase at steinberg dot d e so once again club cubase at steinberg dot d e okay so we see um [Music] from joe uh cubase version 10.5 is there a lot of overlap between wavelab and cubase you know they both do audio editing uh and where wavelab you will do some stuff like you know has a really extensive batch processing you know it's just a dedicated audio editor so it's not going to be doing midi sequencing notation virtual instruments uh it will have you know audio restoration it will have you know pretty extensive editing kind of like what we're doing with spectral layers it will say you know i need 10 000 audio files uh in this folder to be this file format this bit depth and to be output to this exact loudness it will allow you to burn cds to have more metadata support so you know there will be some overlap but you know we could think of you know cubase is being you know for to make a recording studio analogies cubase is like you know your mixer your um you know your audio your tape machine your midi instruments your other instruments and wavelab is like your two track master your cd burner all the metadata for you know doing cds for delivering multiple formats you know to say okay i've done my mastering and now i want to export to these five different formats all at once that type of stuff so you know what they both will cut audio they both will process audio but there's kind of you know very uh separate workflows and you know we can do some people do multi-track editing and mixing in wave lab yes do some people do mastering in cubase yes but you know they do offer some unique very specialized tools for those particular things so they complement each other more than they overlap all right so we have lots of people from british columbia in the hangout it's great it's a beautiful part of the world okay so we have someone checking in from romania um so question does steinberg have an organized location where we users can submit feature suggestions for future versions uh so on the stein if you get a steinberg.net forms i believe that there's a feature request uh area on there you could also ask any of your feature requests here obviously you know all of the features that have come in the versions were done by you know requests from users and stuff that you know people wanted you know that the development team at steinberg was you know wanted to do and you know and sometimes you know it's you know people think something is very easy and it could be that it's you know gonna be a you know covered that one particular function may be covered in a broader scope of features that you know may be coming in the future as planned you know it's it's pretty amazing that the development team can sometimes tell us like a year or two in advance we're going to deliver on this day and you know that they will make that work and they have that down to a science of you know and that's why they're able to deliver so many you know wonderful features and the breadth of the features that they do within a you know a development cycle from going from like a 10.5 to an 11. so but they you know go to the steinberg.net forums you could also just email me club cubase at steinberg dot d e you know i was just passing on feature requests you know uh and a couple of suggestions we got from a high profile composer you know 15 minutes before we did the hangout or before we started this live stream with some of the some of my colleagues in hamburg uh at steinberg so you know we you know so you could always ask the questions send it to me at club cubase at steinberg.d you could ask here you know we monitor these we document all the questions we get you know in these live streams so feel free to ask anytime here or on the official forums all right all right wonderful to see millard brown on the hangout you don't have to worry that you are late uh so question hi greg are you aware if steinberg have a cubase controller to replace the cc 121 in the pipeline thinking of buying a cc 121 but want to be confident it will be supported in the future cubase versions so it's still a current um so it's still a current product um it's being made still it's you know it's been out since what 2008 and still working you know we recently you know even going back previous to that in 2000 we released a controller called the houston uh and you know still to this day it's supported in cubase 11. so you know steinberg has a pretty good history of being able to support stuff like that and so many you know older controllers are still supported in cuba so i think you're gonna be i haven't heard of any plans to replace it you know some people have a yamaha nuage which is kind of the ultimate um controller for steinberg products that's obviously a much different price category uh but you know that is you know what you could go to if you wanted something really high-end so but i think the cc 121 fits a great workflow and fits on people's desks very easily and it's a wonderful product so you'll be very happy once you have it all right all right uh so is there any way to set up a reset to beginning besides the l button so let's say if i just come here so if i go to the l button we could go to the beginning of i think the selected segment so let's say if i go here that will just take me to the beginning of the segment but if i just hit the period key that will take you to the beginning of the project so if i'm just hitting like my fast forward rewind here my plus and minus on the numeric keypad just hitting the period key on the numeric keypad that could take you directly to the beginning of the project and i think if you have multiple parts selected here so let's say if these are all on the same track that you could hit n or b also so if you wanted to just come here you could hit let's say i have this selected and i could just see if it's on this but so i could just activate the next part here um i thought that i could just let's say if i just hit n or b that we could go to the next boundary of a part so i could go to the end of that event to the beginning to the end to the beginning to the end just be an end is another way or just hit l that will take you to the beginning of the selected event so there's a couple different ways to navigate depending what exactly you want to do okay so question from ali i've made drums with four different samples lines with groove agent and i just want to make them audio events to four different lines for each sample for example kick snare clap hi-hat all right so let's go ahead and i'll just reset this revert this project thanks for all the wonderful questions if you've learned something new make sure you hit the like button all right just gonna check see my stream is okay so it looks okay on my end just getting a couple of streaming messages here on my end just want to make sure everything is going okay there's a little bit of a [Music] delay just bear with me okay so it looks like everything's okay from monitoring okay okay so let's say we have a groove agent kit here and i will just cut all my samples and let's say i wanted just a one little sample here for my kick and i wanted a high hat just clear my throat all right so i will now just come over here let's say okay let's just get a hi-hat okay and i'll just kind of start this okay and maybe just like a little snare hit so i have like these different samples or let's say even if i come over here and let's say snare okay so i'll just drag my snare to here and let's say hat okay so let's say that's my hi-hat and i wanted just a different kick so this is my magic sauce kit [Music] all right so let's say i have [Music] okay so now if i have a midi part that's using those particular notes so i will just come over here let's say we're going to be on c1 okay and let's do [Music] okay so say this is my parts and um just want to make them audio events to four different lines each sample for example kick snare hi-hat so once i have this done i'm going to just route these to different outputs so i'll come here and say we're going to put this to my master out this snare to output to and my hi-hat to output three okay so now i come over here to my mix console i could hit these and we'll see that these are all going out of different outputs [Music] so if i now choose to render in place since they're being routed to different outputs i could come over here and say okay let's do our channel settings and i will choose to [Music] mute the source events okay so so now we could have our drums kicks let's say our snares and our hi-hats all broken down to different channels so if you just within groove agent itself set them to distinct outputs so master out to out three and then do a render and place and here i chose just to do the channel settings that will automatically just render them to individual files for you just that easily uh so just see a question from ali do we have zoom session today so we did it on saturday um so we will do the next zoom session the last of the last hangout of the month i'm not sure if that will be on uh tuesday or a friday but probably the last hangout of the month all right so we sir robert wants everyone to smash the like button as well and jazz dude says smash the like button like bottom hit his ludwig bass drum that was probably pretty loud so always sounded great all right and we see that michael's liked and shared on socials that's great thank you all right so to see uh comment wow must have been 10 plus years since i heard about cubase cool time flies though so that's great all right it's glad to have you on a hangout um all right so ali is saying hello from iran thanks for joining us all right and we have people checking in from denmark all right and we have from razel from denmark i hope i'm pronouncing your name right and we have pro wash dfw checking in um so it says i have presonus location or io station 24c do you know how to assign any of its buttons to open edit window in cubase so i'll just take a look at this let me just switch to the correct computer okay so to see um so it looks like kind of a like it's an audio interface but let me just or like a single channel device so if you uh so i'm not sure if it's working off of like a mackie control protocol uh but if it is all you'd have to do um and this could be just really you know a function of the hardware itself but if we come over to your studio setup you know generally a lot of these devices can work as a mackie control so if we go to mackie control you know you have user functions here so you could say user and if i wanted to come over here so let's say edit and then i think you could just do like edit track or edit channel settings so if you wanted this to open up you know the channel settings you could be able to have that just simply you know open up your channel view just like that so you know but most of the functions you could just kind of come over here and do edit and edit channel settings if it's a mackie control if it's agent you know if it is transmitting midi information like when you come over here it's probably using midi as a protocol you could also just do a generic remote capture hit a button there depending on what mode the device is in if it's just spitting out midi notes you may be able to just set the midi input and output here like you would on the mackie control set that for and at that point just you know have the edit channel settings so when i hit this particular midi note um i could choose to do command um let's say edit and then we could choose like edit channel settings i think right here so now uh i could hit apply and as i hit the particular note um i could just from my midi controller it will just open and close the channel settings like that so but you know check to see what mode your i o station is in so all right so we just see from ali any of you guys checked out the apollo from dom so that's a a new uh pad shop expansion set by dom cigals who also does a lot of great videos for steinberg so lots of wonderful presets in there so if i just wanted to go to pad shop we could add pad shop and i'll just play i'm not a keyboard player but i could just come over here let's take a look at some of the apollo just do a couple of and now i could just so we'll just go through a couple of presets here you know a lot of them will just kind of be able to change based upon we see mw like based on the modulation wheel [Music] you know and pad shop is brilliant for i just wanted to kind of play one sound and let it evolve over time this is just me holding one note and you know you can always do a whole soundtrack just based on some of these so just so i'll just hold one note down so always very kind of ethereal sounds just great for a lot of soundtrack so [Music] and you know dom's an incredibly talented sound designer and just a wonderful guy so it's great if you get a chance to support dom with this product okay so we have a question from uh siren68 uh if i get a tom drum stereo sample that is balanced uh more to the right in volume and i want it balanced to the left or completely centered in volume is it easy to do in some way so let's say i will let's see if i have maybe a tom sample here that i could mimic this with all right so i'll just take this particular time and let's say okay this is going to be panned all right i'll just kind of trim it a little bit here make it a little louder here just make it obvious so i will let's do a render in place i'll do the complete signal path all right let me just kill all my cellos here all right me just do this one more time and make sure all right so let's say i'll just take this snare here all right so say now listen to tom the snare here all right so let's say i want to just render in place i'll just export this quickly okay again and import it into the project this time okay so now we have our audio file and let's say it's predominantly on the left or on the right channel okay so um so let's take the stereo drum samples bounce more to the right in volume and i want it balanced to the left or center so let's go ahead and i will just play just this so even though that's balanced i switched it to let's say i've had my stereo balance panner you know if i do that but if i just switch it to my combined panner so i'll just come here and have combined panner so now as we [Music] this way i could with my combined panner just kind of place that particular track in the left or in the center or on the right hand side so switching it to the combined painter if you wanted to just kind of so that way we could just so you know may default to the balance panner and as you do that it's only doing the balance but if we just on it put it on the stereo track itself switch to the combined panner then we could take that source and pan it any way you want [Music] so give that a try sorry i think that will do the trick for you okay so i see uh from uh michael sometimes when i put a live instrument through my ur22 a double echo sound sometimes so it could really depend uh if you have first you know depending on the your 22 if you have like a ur-22c um some of the units will have dsp um so if you select your you if it's a ur-22c you could just place it into direct monitoring so if you have the original or you are 22 mark ii those didn't have onboard dsp but you could come over here select the audio interface go to the control panel and try lowering the buffer size so once you select the audio interface click control panel lower the buffer size now sometimes as you're doing this if you have effects on the master chain or effects on a track that may impose the latency and to kind of temporarily disable those plugins you could go to the left hand side of the transport and just click on constrain delay compensation and if you click on the constrained delay compensation at that point um so it's um that will bypass those plug-ins temporarily while you're uh working on it and that should minimize the latency as well so those are some things you could try michael okay all right so we just see from a question from oreo reverb is there a huge difference between 10.5 to 11. so within 10.5 you're going to have you know there's a pretty significant uh difference for a lot of you know function so within the midi key editor we can now have a global track so if you wanted to see markers or chord tracks uh tempo tracks signature tracks and video tracks we could see those within our video within the editor screen we could also have scale assistant so you say i only want to enter in notes that are in d major and now i could only you know snap to be within the scale um so we could do that very easily with the scale assistant there's been improvements to midi cc drawing uh data in pitch bend where you could snap to the particular pitch some other functions you'll have are going to be some new plug-ins so if you wanted to come over here there's a very extensive metering plug-in that comes with it called supervision this would allow you to have uh you know very extensive metering as you're kind of playing between different sources so if you wanted to see different aspects of metering you could do that as well uh there's going to be a squasher plug-in for doing dynamics so if you wanted to do like very aggressive dynamics a lot of people think of it immediately for being more like edm based so it's an upward downward compressor with multiple stages of side chains so you can have multiple side chain inputs within a single plug-in the frequency eq is also now has dynamic mode so you could switch between and activate dynamic mode on the frequency eq and the imager plugin has also been updated so when we want to go to the imager plugin so it's now a multi-band imager plugin so there's lots of enhancements to the sampler track so if you wanted to just be able to have you know different lfos you could come right over here have you know different uh lfos some more filtering options audio warping slicing within the sampler track as well as kind of coming over here to job export cues so when we go do your audio mix sound i could say let's take all these tracks bounce it down as an mp3 bounce it down as uh a 24 bit 48k stereo wave bounces mono stems bounce out with stems without processing with processing you could set up all these different job queues and have it export uh kind of all you know simultaneously without having to do it one by one by one by one uh there's more high dpi scaling options and support for the metal framework for graphics acceleration on mac so more content so it's a pretty extensive update uh go from ten five to eleven so okay so we see a question from uh evil phil how do you color the whole fader i can only color the tag so depending on your version this is something that was uh introduced in version 10.5 so if you go to um preferences and now we go to user interface we could say go to track and mix console channel colors so now this is what it looks like in 10 and earlier we could just have kind of those particular ones but now in 10.5 and higher so again preferences under user interface track and mix console channel colors at this point we could just choose to change colorize or mix console channels and then we could have different levels of color strength as well applied so now you could have your mix console colored okay see lots of emails coming in so thanks for all the wonderful questions if you've learned something new make sure you hit the like button okay all right so you see from uh riley richard is very refreshed cc 121 on the way so i haven't heard anything announced with that so uh your cc 121 still a great relevant and significant product so and if you invest in it you'll be in you know i think everyone that has a cc 121 loves it and it just kind of turns into your right or left hand depending if you're you know i'm right-handed so my mouse is in my right hand my computer keyboard's in the middle my cc 121 is my left hand so um i just see a question from michael greg do you have anything new you've made so unfortunately um i'm you know well i get to use cubase really well and i've done lots of studio work in the past i'm not a songwriter per se so um but some of the other members on a hangout gareth and pablo and uh michael teams they you know they've sent me some songs i played bass on so i should have one you know uh and i have another song that i just got yesterday from garrett so i'll be adding a bass part probably on it tomorrow i probably won't have time to get to it today because i have to do the index but i don't really um you know i've not done anything new but i've done you know in the past i've been involved with lots of records like i was one of the audio engineers on eric clapton's crossroads festival way back when so that was kind of fun you know won some awards for that and you know got to record eric clapton which didn't suck and eric johnson and john mayer some other people but i mostly just you know dedicated to working kind of helping people with steinberg stuff and you know hang out with my family as well so okay great to see grant nicholas on the hangout all right all right great to see pablo um on a hangout so saying uh i see pablo saying today started earlier so yeah it's in the united states it uh it switched to daylight saving times over this weekend and i think it's going to be later in the month so it's always an interesting time with international conference calls this time of year so instead of like currently i'm on the east coast the united states and usually germany is six hours ahead but today they're five hours ahead for a week or two so all right but we're glad he could join us pablo from calisia espana yeah so i see uh so for michael finnegan's asking if i play guitar so i'm just uh i'm i'm just the bass player so all right so we see uh new to project templates um sorry my chat feel just jumped on me okay sorry just let me find my space i see i have lots of great questions ahead of me okay okay so from robert gilbert uh new to project templates i saw that some disable all instrument tracks and others they don't what's generally done so a lot of composers when they're kind of working uh on templates let's see if i i'll just open up a quick kind of composer ask type feature so the reason that some people will enable disable you know particular tracks in a template so you know some people will host you know vst instruments on different computers if you have a really large template you may be working with like vienna ensemble pro and you know you over ethernet you could take the audio you know send the midi information to a computer on a different you know that you could send this midi track out to vienna pro which hosts its own uh which hosts plug-ins and but all the processing power is done on the other computer now some people have migrated as you could have a lot more memory and more multi-core processors some people have migrated to the point where they want all of their tracks loaded locally on a particular computer and when they're not using particular tracks instead of having that those tracks take you know cpu cycles they'll just come over here and choose to disable tracks and when they need to go to their violin they could just come right click over here and say enable track and now the track is available to play but if i go to violin 2 now this isn't taking any cpu cycles it's freed up my memory but it's not active so but again just one mouse click or one you know and now it's [Music] so that will be you know available so some people now you know i'm seeing there's lots of composers that would just kind of use and farm out multiple machines to have their large orchestral sample libraries kind of always accessible and some people are choosing the convenience of having everything loaded into one single computer and realizing that okay maybe i'm using 50 out of 3 000 tracks so why do i need you know all these tracks sitting here occupying memories you know taking away my cpu cycles and will just kind of load and unload so it could really depend robert on the size of your template how much ram you have how how much processing power you have in your computer so both approaches are right and you know neither of them are wrong it could really you know if you're you know if you're the guy needs 3 000 tracks playing back at once then you know you probably will have stuff you know being shared across different process you know different computers but if you need access to 3 000 sounds but maybe you only play 60 or 100 at once then you could choose to enable disable tracks all right all right just reading through different comments all right so we see faceless production saying hi to everyone all right you see that pablo probably missed our zoom get together on saturday because he was working on drum parts that i'm gonna be playing bass parts too so we'll excuse you this time pablo all right so we see some more people coming in late with time change even kyle who i believe is an american so you know i always remember in college uh this time of year when there's a time zone change and some guy one of my classmates made it to tuesday and showed up to class an hour late with a really confused look on his face everyone just kind of burst out laughing okay uh greg how did you set your transport control i know it's my third question today and we are many so it's no problem so my transport control if you don't uh you know sometimes this is kind of abbreviated to get more functionality in the transport so if you see these three little dots this often means that you could see additional data so a lot of times the default you know because there could be more information that can fit on most computers kind of horizontally so if i wanted to just you know come over here you could extend to have you know rewind fast forward add it just by changing the size so those are some of the little tricks that you could do to kind of you know change the size and what's visible within your transport to customize it for yourself okay so we see from uh faceless productions uh thank you for your wonderful videos and sessions i'm glad they're helpful um so just see uh from michael uh says but nuendo uses spectral layers internally i heard so yeah nuendo and cubase pro will both ship with spectral layers one so it's not part you know of cubase it's included with your cubase license so that you could have access to it but cubase and nuendo will kind of access spectral layers in the same way through ara2 so there's no real difference there okay so hi greg uh question can chord pad play sql midi file in play mode patterns thanks um i haven't worked with sql play mode in a long time but any of the sql content that you have you could drop in so if i wanted to take uh let's say my a finger base part let's say an electric piano part here this is just some of the content let's stay okay so i have this string part okay so let's say i just have and i wanted to look at okay so now if we wanted to we could come over here let's um let's say for this particular part i wanted to add a chord track so i will come here all right i'm just gonna okay so let's say i'll just copy this a couple of times here and i'll glue these all together okay let me just okay so now if i wanted to just have this particular track follow the chords so we could say follow the chord here and as i add change discord let's say i want to be an a flat i want the next chord to be e flat so you can see that these parts will automatically change to match whatever chords that you type in but i i could dig up sql and i'm sure if i have it installed on this computer for sql three if you send me an email if that's not what you want it to be covered with the play mode patterns okay okay so a question is there very speed mode like logic pro in cubase so you know some companies have kind of different terminology for very speed um so but let's say if i wanted to come here so very speed is often uh you know kind of speeding down or s or you know affecting changing the speed of tape playback um so that you could you know change the pitch and the length of the audio at the same time so let's say if i'm here um we could place all of the tracks into special like all of our audio tracks into special modes here so let's say i'll switch all these to tape algorithm so as i would change the tempo here you'll hear the speed slow down and the pitch slow down just like it's analog tape so let's say i want to go 104. 112. so right back to your original pitch so that's how you could do very speed so but i'm not sure if that's the same terminology that is used in other programs um all right so i just see from uh tutorialism hi greg when programming beats using the editor inside groov agent how do you set up the grid and quantize to display groove percentages like you do in a regular midi editor so let's go ahead and take a look i'm not sure if it's done there or might have to be within the regular midi editor but we'll see if there's a little see if i could figure it out i haven't tried it in there so add the full version of groov agent okay so now we'll get to our pattern in the full version of groove agent you could actually uh come over here and just see the particular patterns of you know and you could program patterns directly inside of here so i think this might this might be just um all right so so i could see that we could have the groove pers we could have the interactive quantize setting there to see where there's a setting so i don't see where we could do even the percentages is that there is kind of an iq and i'm not sure if that's taking it from cubase i would think that it's not all right so we could put in our let me just see if it's a modifier key maybe let's see if it's yeah so i don't see where to you know it may be i'm not sure where to let's see if it's i don't think it's going to be under [Music] options yeah we think it would be here but i'm not seeing where we could even set kind of the strength quantization for the i could do some more research if you want to send me an email to uh club cubase at steinberg.de but i don't really see i see where you could do it you know obviously you could do it in the midi part but you think that if you could enable the iterative quantize that you should be able to have that adjustable but but i'll see if i can if it comes to me later but if you want to email me at club cubase at steinberg.de i could check it out all right so we have kai checking in from florida all right so to see uh sorry if this question has already been covered but how soon do you think cubase will be available for the apple silken uh the m1 chip how much compatibility with rosetta is already available so there's a lot of people running rosetta stuff currently with the 11.0.1 i think maybe the next maintenance release will see more rosetta compatibility coming with that uh i know it's in testing as we speak uh but we'll see that and there's still lots of different aspects of investigation going on to you know get more stuff working with you know the m1 processors to be native for it it's quite a big undertaking um because there's lots of stuff that just you know audio interfaces third-party plug-ins that just won't work with it so there's some things to um you know some things to be aware of so all right so we have people checking in from athens welcome to the hangout all right all right john cost again says please press the thumbs up button like caesar favoring a gladiator and and also you could do that but if you haven't subscribed to the channel make sure that you uh subscribe to the channel i'm just gonna make sure everything's looking okay i'm just getting some different streaming messages from my youtube so just wanna make sure everything's okay on the other end everything looks okay uh so to see my logic keyboard with the cubase noido template to help me remember my key commands is limited brain space pricey but the feel is also nice so that's good yeah so sometimes uh you know having a particular keyboard with all the keyboard default keyboard shortcuts is helpful okay so we have a question i have multiple hard drives on my pc does it help to have cubase on the c drive library and another and all vsts on another so you know generally how i see some people break it apart uh if it's like if you're working with lots of really you know high intense video some people i see have a dedicated video drive a dedicated drive for samples one for audio and one for your audio uh you know your audio files so you have one for your operating system one for instruments one for audio is that's generally a pretty good place to be but a lot of people then depending how many instruments if you're streaming 3 000 orchestral tracks in your template um you know having a dedicated drive for that apart from your audio could be helpful all right just having lots of emails come in thanks for all the wonderful questions okay all right so just see a comment from john costigan uh thank you greg i think the groov agent output channels question just fixed my battery 4 problem so okay so just see a question ik multimedia arc 3 in cubase control room best location so i think that's going to be probably the best location for it so as we want to come over here a lot of times you know we have the ability people i see you know and these are kind of a lot of these plugins are set up to do kind of room correction and it's fixing a deficiency in your room that you may not want applied to a particular uh to the mix so sometimes people will put it on their master fader and you know these plug-ins can kind of apply eq and different filters and treatments to uh basically make up for deficiencies in your particular uh room now as you're working with that you sometimes what happens people put on the master fader and they export a mix through it and then all the eq changes that have been applied you know to correct your room not what's necessarily that you want embedded in your exported audio file that will be included so at that point i would choose to do a lot of my room correction plugins as an insert on the control room and that way when you render your file it's not going to incorporate the plugins in your control room these are just for playback and monitoring so that's the best place to have kind of like a room correction plug-in maybe something like a sonar works or the ik multimedia arc 3. okay so question will the dongle removal work with older versions of cubase um so i you know it's still very early in that process but you know steinberg just wanted to you know to start the communication process with the customers that they will be migrating away from a physical usb e licenser uh i don't have many more details than what i've read in the same public statements that have been available so i'm not sure how if it's going to be for future versions or for legacy versions so that hasn't been announced yet so and i don't have uh an inclination either way okay so we see from uh siren 68 sworn uh my zoom r 24 gives me eight fader controls at the same time plus master fader one feature request would be that the eight faders should be numbered one through eight so i can easily see uh which fader to move so you know generally if you have eight faders so one feature request would be that the eight faders would be numbered one through eight so i can easily see what fader to move so this could be a limitation you know so most control surfaces will allow you to kind of and you'll see like a you know if if you have the eight controls and we often get this question um if you have a control surface you may notice that there's a little white outline uh indicated i think in even in the mix console or in like the channel view so if you have like an eight channel control surface which sounds like your zoom r8 you would see this little outline kind of indicating for the select what channels are being actively controlled by that control surface now many control surfaces you could increment by a single channel or increment by you know banks of eight so you can go one through eight or two through nine three through ten or one through eight nine through 16 17 through 24 depending on if you you know increment by a single fader or increment by a bank so some of those functions could be you know determined by the actual control surface so see if your zoom has you know like next channel or bank settings um all right so just seeing some more emails come in all right so um so i'm not sure if it would you know be numbered one through eight and sorry where you want the numbers to be one through eight but just look for the little outline um so it may not you know change the name but just look for the little outline and that will give you kind of a visual indication of which controls are actually being controlled by the particular control surface in its current state okay so i just see a question uh can the tracks on the zoom uh see the r16 interface okay sorry just got a text message um so can the okay can the tracks on the zoom r16 interface uh units be transferred to cubase track so if it is i'm just going to do a quick look and make sure it's what i think it is before i kind of waste a bunch of time answering questions all right so let's go ahead and take a look okay so it looks like it's a it's a kind of a portable recorder as well so generally those uh inter those files you could probably take it off of like an sd card or like the little memory card in the zoom and pop it into cubase and then you could import all the files and let's say if your files are all kind of just moved around and what you could do is select all of the audio files in the project so i'll come here just do like a select all and then you could just come back here and go uh from edit and you'll see move to and then origin and that would place the audio files at their time stamp position and then you know probably it's going to be a broadcast wav file and there's like a little you know this file starts at this moment in time and that way all the files should be able to line up pretty easily okay uh so i just see what is the best way to sync to a beat on acapella recording so that shifts in tempo has breath pauses it's from a church service all right so it's going to be kind of the same process let me see i don't think i have i have on my studio computer um let me see if i have maybe an audio file that might work for this uh let me just try won here so you know you could just do a tempo detection um let me see if i could kind of recreate something here all right so we'll show a little bit of spectral layers in action here so let's say i have a stereo track [Music] so if i wanted to come and let's go to my audio menu let's go to spectral layers and i will just choose this is the full version but i could unmix stems so say i just wanted to unmix the vocals from this project this is almost like the taking the eggs out of a baked cake part so now i'll do this and um i'm just going to drag the vocal into project okay so let's say we're just gonna have uh so what you could do is just come over here and just do a tempo detection and this could be really dependent upon different material here so all right so this so if i wanted to come here let's say that if you'll feel the urge to see me where you best pretend you're blind i don't mean to be unkind but all the reasons i left you behind i just have to remember i don't care about you anyway so you know and once you do your tempo detection this could probably you know depending on the file you may have to just kind of come back here and say this is where the downbeat is and just do little tweaks here with an acapella but that will generate the tempo track for you and then you could just take any audio file and you know let's say i just want to take you know do something horribly [Music] inappropriate so i'll just drop that in and i'll put that into musical mode um and now we can this is in musical mode it will follow the tempo so you could try to tempo detection but acapella depending on the material you know some acapella materials you know designed to have a beat and not have a lot of pauses because there's no other instruments so just kind of how the music can be composed but you could just kind of you know use once you do the tempo detection it will take you into the time warp tool so you could do tweaking if necessary and then at that point just kind of tweak it and then your other instruments can kind of fall in line and follow the tempo that's been extracted from the audio recording itself okay so um see a question will cubase be dongle free from april is there truth to that rumor so i would say no so i wouldn't expect that so did you see a question from concert replay are there plans for wave lab to receive avid control surface compatibility like cubase has so i haven't heard of any plans for implementing yukon so uconn was actually originally developed by euphonix and steinberg so um you know but a lot of it is dealing more with kind of plug-in control so i i haven't heard of any plans i could see for you know but it's not most yukon control surfaces are dealing with you know more multi-track mixing and that's generally not something you do in side of wave lab but you could use it for transport and other functions but the yukon protocol doesn't do midi so you know you could do kind of a generic midi functions for control inside of um wavelab but i haven't heard of any plans for yukon support um you know in wavelab but i could definitely kind of pass that on but you know you can use the cc 121 inside of wavelab as is all right so i see uh how to connect cubase to obs so you know what i'm doing in my uh cubase setup here is i'm actually just uh running you know i know there's software solutions i know some people i think it's i think reaper has a plug-in maybe restream that's freely available i know some people also on windows will use voice meter some people on mac will use a program called loopback and that could you know send the audio out so what i do is i just you know for my all of my live streams and to get kind of high quality audios i take my uh output of cubase it has its own audio interface so you are 24c and then i feed that um i feed the analog output of that into a separate usb mixer where my microphone is connected to and i could and i use the mixer which has a usb output and i use that for obs and for all the streaming and i use my audio interface for cubase and it just you know works you know remarkably well having kind of two different uh data streams so okay okay so you see uh from cal richards i've started using a lot of the stock plug-ins in cubase since watching dom segales videos i hadn't realized how amazing a lot of they are in the latest versions so um so yeah so you know the stock plug-ins aren't you know any there's a lot of companies that could be guilty of you know having um we'll call it batteries included you know plug-ins as a part of their daw but you know we invented vst steinberg as a company so you know we can do more with it you know we can uh been doing it longer than anyone else so you know there's a lot of fantastic resources and instead of trying to uh realize revenue that way we choose to include that the powerful processing options in cubase to make your cubase experience better because you know i often call it and people on the live streams have heard me call it you know versionitis where a lot of times you know your main daw could get updated but you know different plug-ins may not be with an operating system or you know your hardware doesn't work this doesn't work you know this you know rewire wasn't 64-bit for a long time so there's lots of you know components when you're using third-party solutions that could be a big variable when there's a change in operating systems which there are all of the time and as technologies move on so you know having everything kind of included within your uh environment makes a lot more sense within a single cohesive environment and you know it's just a natural evolution like you know most people don't buy a separate camera video camera gps organizer phone you know they just buy your cell phone and that way you could you know have everything kind of working better together so but it's great that you're figured out that you know we're having uh more capabilities you know with the included plugins so all right just reading through some more comments okay so again um all right so we're seeing kind of same question asked a couple of times okay so i see a question have not checked in some time does my steinberg houston work in cubase 11 pro so it was initially kind of removed from the 11.0.0 version so the initial release and then um you know i had mentioned that they should you know bring it back and they did with the 11.0.1 so yeah even the control surface that's been you know discontinued for nearly 20 years is still functional in the latest versions of cubase so all right so we see uh from mr classics uh just saying is a whole uh youtube channel uh with tutorial videos on cubase 10.5 he's going to bump up to cubase 11. that's great all right good to see gareth on the hangout is he thank you for the kind words about the bass parts pablo you always it's always great to play with a wonderful drummer as well makes my job easier all right so my chat feel just jumped on me let me just scroll back all right just just finding my place thanks for all the wonderful questions and discussion and if you haven't subscribed to the channel make sure you do that all right so i think i found my spot so gareth discovered daylight saving time in the us but not in europe yet so sorry about that all right wonderful to see sable winters on the hangout sorry and we know it's a little early for west coast to us so okay just reading through comments lots of great stuff okay so i just see uh hey greg and group i'm working on a tune right now and i would like to be able to bounce mono and stereo from groove agent at one time so i think we could show you how to do this grant so do a new project here okay so let's just load up so let's say i wanted to do mono kick snare hi-hat and stereo overheads and rooms okay so i will come over here so let's say we have our pattern so i will all right so let's say i wanted to um come over here i'm going to add some group channels so i wanted two stereo groups and i wanted three mono groups okay and i'm going to [Music] come over here let's say i wanted my kick to go out of output one so it's a snare i'm gonna send it to output two and let's say hi hat i'll just we'll send to output three and let's say output 4 for room and output 5 for hi-hats so now that i have these what i want to do is to take let's say my kick i'll select it here so i see and i'm going to just send this and set it to groov agent let's say it's output here so i will take this to group three and let's take my snare say group four let's do so let's say hi hat out of group five and let's say overheads we'll put this into stereo group one and let's say our room into stereo group three so now that i kind of have that routing done um if i wanted to let's say if i'll just come to this groove agent part and i will take this pattern and drag and drop it on all right so let's see if i just do a render in place now so just go to edit to render settings and i'll just do let's do our complete signal path and render okay so it seems like that put let me just go ahead and create three mono inputs and two stereo tracks i know this could be once you have this kind of set up once you could save it as a preset and i'll say this input is coming from group three group four group [Music] five group one and group two and we could label these kick snare hat overhead room so let's select all of these tracks and now as i play all right so it should just take this off here all right so let's say we have our outs and our outs are feeding groups here so let's just play the groove agent okay so see if i arm those tracks and then just hit record some reason it doesn't want to record but that's kind of how you could set that up to just record so usually that should be passing just check my but that's generally how you could do it is just by routing it to groups to mono and stereo groups and then i'll just check my instrument one more time just make sure [Music] oh i'm sorry i have this set to [Music] [Music] but if you do that um and i do have a video on this but you could kind of just route it i'm not sure i'm probably just having a brain cramp moment now but why it's not passing the audio but if you send it to an output or to a group and then you should be able to just be able to record both audio and in mono and stereo simultaneously and if you want grant i uh just send me a quick email or i could send you an email after the stream and let you know uh where the link is so you could copy that settings okay okay so i just see best place in control room for room correction so if you want to know where the best place is in the control room for like a room correction plug-in so we'll come over here to uh our and this could seem a little counter-intuitive at first but if we click on main tab here that will kind of expose some functions at the bottom and then click on inserts and this is where i would put the room correction plug-in uh i would just put it here because regardless of as you if you're switching between different speakers um you could just come right over here and switch between your different speakers and these plugins would work through all those if you put them on the on the main let's say the monitors you could put inserts here but if you switch between monitors you'd have to have a separate instance of that insert for each monitor but so click on the main and then click on inserts once you have the main exposed and then you could have up to eight plugins right there okay um so to see how can i use one midi track to trigger different instruments in different octaves so if you wanted to do this this could really kind of be dependent upon the actual uh instrument itself so if i wanted to come to let's say if i have uh an instance of like howling and sonic is good for this or halloween sonic sc that comes with cubase so if i wanted to create a layer i'll just come over here okay let me just do new project here all right so say if i wanted to do just a quick layer i could say um i want it let's say horns so as i will come over here let's set this to you know so once i go to midi here i could just say okay i wanted to layer the horns let's say with um let's do maybe a woodwind let's say bassoon [Music] and this will be on midi channel 2. but what you could do is just kind of come over here put these on the same midi channel [Music] and let's say i could now just come right over here and you have transpose and you could just say okay [Music] and let's say i wanted to put in an organ like an organ here or let's say a choir so i could just come here let's say to olympus elements we have this on channel three if i wanted this to be an octave higher so i will just come here to midi and say let's make this channel one so at this point let's make this two octaves [Music] and it's all from the same one note message now if we have notes uh if you have these on different tracks already on different instruments you could always [Music] so if i have just some midi notes there we could also use the logical editor for these types of functions so let's say i wanted to um copy [Music] um we'll say midi notes and i want to take value 1 and let's add 12. so when i do this i can just say apply and what it's done i hit it twice is we'll look at these two and it will just take these two different parts here and we'll look at both of these in the editor and they'll be just an octave apart so that's another way you could kind of do it with uh the logical editor where you could just kind of double you know take this you know copy it to a different track and then assign that to a different instrument and that will be an octave higher without having to do it in real time you can kind of do it after the fact as well now sometimes one other method if you wanted to do this if you start with a midi track you could have midi sends so at this point i could say i wanted to take this uh i wanted this to go out to that instrument and i wanted to do uh midi modifiers and we could say i just want to transpose this track [Music] up 12. so i could play one note on this track and to these other instruments i could have those transposed uh independently as well but it doesn't you don't have midi sends on an instrument track just a midi track but the midi track could be routed to a virtual instrument okay so just see what's the best rack option in your consideration so i'm not sure if it's a physical rack or a software rack uh from michael so if you could let us know maybe clarify okay all right screen through comments um so i see um [Music] so where did the name cubase originally come from was it an acronym a german word um so you know someone asked this question i think a hangout or two ago so the story i had heard and someone else confirmed in one of the comments on the live stream was they were going to be after pro 24 on the atari they kind of came up with a whole new architecture you know and some of the developers uh that were doing that i believe it was you know charlie steinberg werner crocked um probably wolfgang kundras stefan scheffler uh and some of those you know three of those guys are still you know doing stuff with steinberg to this day uh they came up with the whole kind of concept of the you know project window where you could see stuff coming in and going out you know which most companies have gravitated to this paradigm uh and they really haven't had to change kind of the core basic functionality of that um but it was originally from pro 24 which was not as graphic um they wanted to just kind of take uh this and the original naming was gonna be called cubit i believe and i don't i think it was just a made-up word sometimes coming up with names and getting those to be trademarked and stuff like that could be tricky so they're coming up with qubit and i believe that that was being used in a video game uh so at the last minute right before release they changed it to cubase so that at least that's what manfred ruarp who founded the company which charlie steinberg told me uh last time i was in germany and we had lunch together so i got to get all sorts of great stories about the early days from manford and just a wonderful man i have so much respect for manfred all right all right so question from dallas larue is hallian sonic 6 included with uh cubase pro 11 if not how can i get it so there's um a there's you know it's kind of it could be confusing with the names because there's hallian and howly and sonic so howling six is the sampler where you can make your own sounds and create your own instruments and have all forms of synthesis and then there's hallie and sonic 3 and hallie and sonic s e3 so hallie and sonic uh se and and hallie and sonic 3 uh so howie and sonic 3 is sold separately as its own instrument all the features in halley and sonic are available in hallion six uh so i believe when you get a hallian six that you actually have the halligan sonic 3 license so those are available as their own instruments that you could purchase or they also become available as part of a collection of instruments called the absolute four uh vst connection absolute four and that's a collection of different instruments like the halloween symphonic orchestra the grand the full groove agent different instruments retro log uh as well as you know halley and six so you could always purchase that separately and if you already give you a one sentence you know description of the differences between those you could say that hallie and sonic would have all the sounds for playback organized and halloween six is really designed to allow one to create their own instruments so if you wanted to sample yourself and do all the sampling and make your own instruments howling is the perfect solution for that that's version six and howie and sonic is i just want to have access to a whole bunch of different sounds at my disposal so i could go through you know 4 000 base presets for synth bass stuff like that all right so we see ian join the hangout great to see you okay all right just reading through more comments thanks for all the wonderful questions let's go check see how it's going keep getting weird messages on my stream end but it looks okay my monitoring computer all right all right so just see is there a way to use manual time warp on a folder containing all my drums pro tools has that edit capacity since years ago i don't think cubase can do that which is kind of bad so it's the development team is very aware of that um so you know so i think that you know there's probably i'm sure there's people that are working on bringing that as a solution as we speak you know we could do kind of a lot of different warp quantizing you know using kind of more like kind of what a lot of people call like a beat detective style editing for quantizing drums but you know doing a multi-track warp isn't available yet so but i know that the developers are you know very aware of that issue and i was you know we're just discussing it today in a meeting with them right before our live stream okay so i just see from ian rushmore uh on my old sx2 system there's a little drum box called elm sevens it's still available has it been incorporated into groove agent and is it's the end of so uh where can i find it please so all the samples are built into groove agent um so and i think once we you go to groove agent here that you know that was a subset of sounds in lm4 at the time so say if i just wanted to load kit i believe you'd see all those uh in the groove agent one kits so all those kits would be available here um so the naming conventions would still be the same but just look in the groove agent one kit and those are all the samples from the legacy of lm7 and the groove agent one all right so we have greg malek checking in from hawaii saying aloha to everyone now you're just making us all feel bad that we i think i haven't you know gotten a chance to go to hawaii in a while but i've had some friends that have moved there recently kind of during pandemic and working remotely and having a good time okay all right you can see fred robinson on hangout it's a great comment from gareth groove agent certainly does a lot more than me so all right so we have fred who's checking in from prague thanks for joining us all right so i just see a question can you use two cc 121s would there even be a purpose so i think that they would basically just you know mimic each other uh i know someone who did it just so that they could have two ai knobs and the ai knob is just like a knob that you could hover over a parameter so any parameter that you have in the kit so say if i just wanted to come here to groove agent i could hover over just i hover with my mouse and i move the knob and it just automatically controls that parameter so and you could lock that so that i could maybe adjust this parameter with my mouse and still control this with my encoder so i know someone had just bought a second one so they could keep one of the ai knobs locked to a particular function and so but otherwise it's going to be you know almost entirely duplicative all right so to see why is greg using 10.5.2 so my project may say 10.5.2 but i can assure you i'm running uh the latest cubase pro the same build that everyone else has so okay so from fred robinson uh greg can you walk through how to use the tempo detect feature i used it on a variable speed 3 4 piano audio part but wasn't sure how to use the buttons after the detection stage all right so it's fine i think i have a project that we can use for this okay so let's say i have a file here and as we listen to it the metronome is not aligned to the audio file they're completely independent so this is recorded without a click so if i want the instead of making the musicians uncomfortable and recording to the click if they're playing well and everything feels great who cares what the tempo is but we may want to have the tempo uh configured so that we could edit on the grid so if i wanted to take this i'll go to my project menu and say tempo detection so let's say i'll just come and then i'm going to say analyze so right now we have our tempo detection done and we get this little window with some other little functions uh so as i want to work on this i can see right now there's an offbeat correction so right now it's kind of on the upbeat so i could just kind of flip that and let's say okay maybe it you know i wanted to multiply the tempo by two so so if it kind of detected the wrong pulse or let's say divide by two and then you have like you know four three or three four so this is if it's like maybe in twelve eight you could use those particular functions uh and that's um those are kind of what those different options are for and if you're in three four so let's say i close this out you know cubase will it it's kind of it's figuring out where the beat is so it'll add the the tempo track as well as the signature track so here i may want to just define where the downbeat is so i'll say here's our 4 4 and so we'll have pickup notes [Music] and now we could have that grid automatically created based upon the performance and if i wanted to you know just drop an audio file and place that into musical mode i could come here just [Music] let's do something right it's just horribly inappropriate and now i could just come here place that into musical mode and now we have now this track is speeding up and slowing down to automatically follow the tempo [Music] and if i take this track out of musical mode it's not going to play in time it's playing its original time but just now you could be a remix genius in a matter of minutes then not tell anyone how easy it was to do that all right okay all right so lots of great discussion all right and michael team wants everyone to whack the like button all right pablo is just bragging he's gonna get a cup of coffee so he's probably already had two cups by now so but that sounds good i'll probably have i may need a mocha before i start the index tonight all right so we see gareth is using groove agent now now pablo's concern that gareth is replacing his drum performance all right sorry my chat field jumped on me all right sorry either just find my spot okay so i think we're okay all right so so i just see a question how can i record my internet browser audio without connecting my sound card with an interface with a cable so you know depending on it you know it could be slightly different on mac or pc but you know some people you know i think you know can set up like little kind of loopback plugins to do that as well some audio interfaces will allow you to do that as well to have a loopback function but sometimes by time you spend eight hours you know figuring it out you could just hook up a cable um that always works well or just extract the you know an audio file from like a youtube there's different utilities for that all right so it's to see a question from florent uh hey you probably have some experience on both platforms would you rather recommend to run cubase on windows or mac stability etc so you know cubase runs great on uh either platform i go back so like i'm using i kind of do things probably the opposite of most people my studio i do everything on windows and i would probably say i'm more of a windows person i have a mac for work that they give me because i could do you know on the intel systems i could do you know both mac and pc on one computer so that's you know advantageous to me for work stuff uh but um you know i think both operating systems are great and they both suck and are terrible in their own ways uh they're very to me they're very close um i think a lot of people you know there's been a lot more kind of harder transitions in technology i think on a mac os platform not only with operating systems where you know a lot of plug-ins will have to if you have a lot of third-party components that will have to constantly be updated and you may be kind of you know you don't have the choice to replace or upgrade certain components in your hardware that's a lot of people find you know to be a disadvantage um you know and we see that the windows platform kind of has been very stable you know both main processors don't have any issues so but yeah we're going through not only an operating system change but a processor generational change on mac and it's you know hasn't been the most you know uh smooth it hasn't been incredibly smooth for a lot of people and a lot of functions you know maybe in the future it'll be you know promising but you know it may not offer such huge compelling things but you know either platform works really well you know just you know be sensible with you know how you use your computer and you know and you'll be in good shape um but i know a lot of people like the you know ability to you know customize things a bit more and if you really wanted to push the envelope you know my some of my composer friends you know who have you know unlimited budgets will do everything on you know really beefed up pcs that they could customize and of you know change over time like you know there's you know a new technology that's out now we could incorporate that into pc without having to buy a whole new pc so all right um all right all right so we have uh leif checking in from uh ll studio norway welcome to the hangout all right okay so we have question um what is the proper way to save a patch in the hallian sonic se if i'm going into a different studio i believe that it might even be saved within your profile manager um so if you just go to your profile manager i believe that this will be incorporated in there but if not you could just like when you go to your your studio setup you could just come over here so if you want to go to your media bay so let's say i created a new patch and i'll just do a new instrument track for halle and sonic se all right let me just find like a synth kind of [Music] all right so let's say i'll just come [Music] here [Music] all right so let's say i'll save this as a patch so i'll go to my preset management let's just save preset and we'll call it doug michael all right so now i think if i would just come here to my media bay we can go to user content um so let's come over here so let's all right so i think even if we now wanted to just come to let's say our media here let's go home user presets to vst instruments um and now at this point you could just you know right click on the preset and just reveal in finder and then you could just copy that to like a flash drive and be able to uh move that anywhere that you want as well so just you know look for it under so i'll go home so go to user presets you can say vst instruments right click reveal and finder or explorer and then you just will have that right there okay so to see a question uh when will we be able to go without the dongle and how are they doing that so they haven't you know there's they haven't shared a lot of public information so um you know there are obviously you know there's lots of details to make you know because we have some people that don't want to donald still have access to the license management system and some people really prefer the e-licenser and having a physical e-license especially if you you know migrate to different uh you know computers and systems and you work in different studios so they haven't announced it you know i think that as developments come you know and this is probably you know months off you know but you know they've had a couple of times where you know parts of the server that handles the license management have had some maintenance issues they just had it a couple weeks ago and there's a lot of people that were understandably upset about that that you purchased something and you can't activate the license uh and then it takes a couple days for the whole system to kind of get reset um and it's a big imposition on customers and that's why they kind of made an early announcement you know this plan has been in in design for a while and you know i think that they understand you know different schools of thought and different use scenarios and they're you know want to make sure that everything everyone is you know happy with you know the different results of the plan that they're coming up with so it's you know it's a huge you know project that's been going on for a while so hopefully we'll see more information coming out but it's still months off would be my guess okay all right so we have a whip tongue checking in from brazil so welcome i have uh one of my college roommates lives in sao paulo now and his wife work at the embassy all right all right just reading through comments okay okay so you see a question uh is there a way to select pads for sample editing via midi and not with the mouse in groove agent um all right so let's go ahead take a look hang on just one second i have to send a quick message okay all right so let me just open up uh instance a groove agent here so okay so let's say we have all right so um so anyway to select the pads for sample editing by midi and not with the mouse and groove agent okay so let me just see [Music] i thought there might be a way of doing this let me just all right so if i wanted to just have that selected let me just i thought there was a way to um like a little midi catch thing okay so um okay so if you activate up at the top here uh midi follow on off so right now this will stay when i click on with the mouse but if i hit it with a midi note that stays the same but if i enable midi follow on off as soon as i hit the midi note the edit window like the main window here will just reflect based on the midi message that it's receiving so right up top a groove agent midi follow on off and i think that's how i think that should help if i'm misunderstanding just let me know okay thanks again for all the wonderful questions all right all right so just uh reading lots of great discussions uh i see a comment from john costigan hi greg if you didn't have an occasional brain cramp you wouldn't learn half as much about troubleshooting as you know in your sleep uh mono and stereo groove agent 5 outputs rendering so i know i've done a video on it so if you go to the cubase q a i think it's working with mono and stereo tracks but yeah it happens okay uh so we have a question uh what is the quickest way to detect transients and remove bleed like kick drum mic picking up too much snare i've been cutting each track hit manually so a lot of times you know you could just come over here and just you know using a gate is always a great choice because if we come to uh let's jump to play just a slightly different project here okay just remove the markers here okay so let's say if i was um listening to my kick mic so let's say maybe a sub kick and here we could hear kind of the snare so there's some more outside you know and just kind of being able to you know if you come here you could set you know the frequency that you want to you know so you could actually gate out like you know particular frequencies that you want as well so you know just kind of using so let's say so i'll bypass this you know but just kind of turning on you know but you could just kind of use different filter frequencies just to kind of get you know the particular frequency range if you're looking to get like the hi-hat or snare out of it so but just you know doing a gate you can you know do quite a bit but a lot of people miss kind of the frequency filters on the noise gate uh and that's like so helpful for like drum situations like you described okay see it's a great message from lawrence can't wait to be able to play music with someone other than my ipad so okay lots of wonderful questions um okay great cjvi on the hangout all right uh it's a question from michael do you like rack modules or do you think they're not worth it um so i have a lot of rack modules uh if i look at my rack that's like eight feet tall i have a lot of rack modules i collected over the years and used to use you know like my first rock module was probably 91 or 90 yeah maybe 89 or 90 um so and i just tend to keep all my gear forever um so i i have a lot you know probably i think between all my scents external i probably have 22 or 23 external instruments um i don't think i've i actually when i moved into my new studio i have them on a separate power strip uh so that i don't have to have them on because you know i haven't used them in a long time you know it used to be like for the longest time there's one pad sound on my role in jd 800 that i had that was like perfect for so many little things and you know i have kurzweil's and roland's and korg's and yamahas and emus and different samplers but i really haven't used them in a long time you know it's just inconvenient uh so you know some people and you know however you get your sounds are great but i think that you know for me in my workflow i haven't used a rack module you know in a relevant way in a really long time all right great to see matthias from hamburg on hangout welcome okay you see that michael teams is indicating that gareth is famous again that's good to know we could say we knew him when okay so um i just see uh about the midi sense i showed earlier says uh from jvi it says you also showed the midi sense also doesn't work with third-party plug-ins is there any update to the midi bus to resolve all this so you know the midi sense do work with third-party midi plug-ins so um let me see if i have one i'm not sure if i even have a third-party instrument on here okay so let's say i have a towel noise maker so i will just come over here so and i will just take this and let's say i want to start off with a midi track and let's add a instrument rack here so i'll just say i'll just get to my vsti here and let's add an instrument rack so let's say i want this to be retrolog let's check out some of the imagineer presets it's a new library from online music foundry it's always stellar stuff so let's say [Music] and let's say i had another instrument here so i'll do my third party one i believe that we could do this without so let's say i have my towel noise maker so now i could play this one so say i have that going on and let me just find a volume for that okay so so i will just kind of come over here okay so now i'm gonna play the retro log and i wanted to do an arpeggio out to the towel noise maker so i will go to the midi sends and say i wanted this to go out to towel noisemaker and i wanted this to be maybe in our patchy so that way i could just kind of come right over here and say let's so we hear the arpeggiator i'll just turn this down to less bothersome sorry about that so let's say i'll just have this volume down the arpeggiator going on and the tower synth so um but i have had discussions about kind of like the you know being able to send you know like a midi boss um i don't have any information i could share with you on that okay so a question i'm a new cubase user how can i save sampler track presets with my own samples to use at a later date all right so let's say i wanted to come here i wanted to now just take one particular sample so i'd say i'll just all right so just do this here so i'll just choose to [Music] so this is just its own file i'll take my sampler track and let's say this is just like a kick okay so i have this is my sample and all you have to do is come right here and you'll see preset name and then you could save a track preset so i'll just um come right over here um we'll call it adt p uk i guess all right and now this is just a sample sampler track preset so if you wanted to again just come over here to say media bay user presets and then you could just say vst instruments and i think we could even just see it in default so at this point you could say presets let me just see if it's in but you could now come over here say users and then you'll see it in like sampler track presets and then you'll be able to kind of just find it uh in there so let's see if we could but that's really all you have to do is just kind of save it as uh your sampler track preset and now you can see it just even will just kind of show up here so let's go ahead and i'll delete this particular sample track so we'll remove and then i could add track using track preset and then we could look for sampler tracks and there you go so just come right over here and you could save it it's basically just a track preset that would include all your effects and your other uh information so okay so you see i use chord pads with string libraries uh and i know each chord note goes to different midi channel is there a way to send cc one while using all pads to all four channels um all right so let's say if i have i'll just do a new project here quickly thanks for all the wonderful questions hope everyone has learned a tip or trick today if you have make sure that you hit the like button and you subscribe to the channel all right all right so i'll just do a quick halloween sonic all right so say i'll just come here [Music] okay so i i don't think that by default it's gonna split it to multiple channels um but let's say if i'm here and i have my cord pads open [Music] and i now in and i'll just set my cord pads as my midi input [Music] so if i wanted to just record this you know i think it's all going on the same midi channel but i'll just come here [Music] all right so now when we want to look at we could see all of our chords and i will just look at it but you know i moved my modulation wheel so you know if i you know if i just recorded the data you know it should uh as we have this set um you know we could just have that automatically you know if i i had my midi input set to the chord pads but you could you know simply i'll just set this to all midi inputs instead of the chord pads so if i'm here i could just play the notes and let me just have the chord pad open and i you can see the modulation wheel moving so whatever tracks you have selected or track or tracks all this and that patch doesn't necessarily respond but that patch will automatically record the midi cc data and the chords for you so but let me know if i'm misunderstanding um all right so we have uh hi greg from zeph realis zeph reals sorry for i'm sure i mispronounced that um any advice on how to set up a vocal chain would be appreciated thanks for these sessions uh i've learned a great deal from your expertise i'm glad it's been helpful um let's go ahead and i'll just show maybe just a quick project and i think every you know i try not to do the same thing uh over and over again with vocals you know i tried to think of vocals as being uh more for you know you know i see so many people that you know over the years that you know are like white hot producers and they have a formula and they do the same formula over and over again and then someone else came out with something new and they just kind of keep doing the same thing but they don't really approach it as a solution for the song so um i'll show a couple things that i will usually have you know i try to be a bit sparing you know and obviously you know if you have the perfect microphone and a great vocalist you know that makes your job so much easier you know one of my dear friends is you know did a lot of engineering for james taylor in the studio and you know one of my favorite quotes from my friend was you know i was like yeah you could put up a sure sm57 and it's gonna sound amazingly like james taylor sounding amazing you know so like just with a great musician you can throw any mic up and i've been in sessions you know i remember doing a session with uh paul carrick you know who's in squeeze and you know um and other groups and you know just a fabulous singer and you know just a 57 in a control room you know while the monitors are playing and you just totally nailed the vocal and it was you know unbelievable so you know every vocal could present different things so you know i like to try to eq for you know often taking out low end so say if i wanted to just [Music] into the listen so let's listen to this i'll just do a little bit of low cut [Music] like where you hear those like the breaths that was okay so i could just kind of do my low-cut filter um and then often i try to find like the key of the song and one of the great things is in cubase you can say oh this is in uh look at the chord track so say this is an a flat so i could come over here and just say for the frequency you know i want this to be [Music] and you know so many people just put a general eq on but i try to eq to make the harmonics of all the parts kind of come out so i'll you know i want to know what chord the song is in so i could eq appropriately so not just you know boost this frequency because you know i did it on the last 10 records you know because they're going to be singing different notes um so here i have just you know a little bit of compression so nothing so if i want to do like really heavy-handed just leave it alone and a lot of people do really heavy-handed compression and you have to do a lot of work cleaning up breaths that are kind of brought out [Music] so just you know tiny bit of compression you know stuff you know going to the channel strip that was okay you know some people i know will do lots of noise gates that was okay if you have like headphone bleeds you know i will tend to put and i find that you know especially now used to be like in the 80s late 80s you know there's so there's a lot of effects processing because you could get new sounds that you couldn't get otherwise so now you know there's kind of a tendency to have stuff a bit drier so having less reverb you know if you have a delay make sure that the delay is timed musically and in sync you know and do stuff like a dotted quarter note delay so it's not so predictable and obvious you know but those little things you know i try to be very light-handed with the vocals um and you know that tends to i think work pretty well and it could be the material i get as well as pretty decently recorded um but you know sometimes i see people's projects and they have you know literally like you know 20 different plug-ins on a lead vocal and it's everything is you know like you know this plug-in may make sense in isolation and fix it something and then you know another plug-in two fixes and everything but plug-in three negates plug-ins one and two so you know just try to keep it very simple i find um you know but so that's how i would approach some vocals all right so i know we had a couple of questions that were mailed in let me see if i get to those before we run out of time thanks for all the great questions okay um okay so we had a question um where did the files go when you delete them from the pool are they deleted the same way as if you delete them from the trash in the pool if they are permanently gone is there a better way to delete them permanently from the computer um all right so when we come over here so let's say if i did a recording okay so i'll just come here to new project all right so i will just let me just put it into a specific folder that i know where it's going so we'll say march 9th new folder okay so i will add a couple audio tracks and let's arm all these tracks and now all right and some reason my computer doesn't want to record today um all right so so let's say if i recorded tracks then when we delete them in the pool so generally they'll show up in the pool window so i'll just drag some audio files in [Music] here okay and okay so now when i'm here i will choose to go to my pool window and we'll see these files okay so as we've done this um all right so if i delete these from the pool i could just say you know right click and i could choose to you know come right over here and let's say i just you know as my files are deleted so i will come here delete those files we'll go to our pool window um and now we could say you know remove sorry that's annoying um it will just say remove unused media so here we could remove it from the pool or put it in the trash so if i say put it into trash um now i have all these files that are in the trash and if i wanted to let's take a quick look at our pool window here our folder so i will come back to documents all right so at this point uh i would go to let's say march 9th okay so let me go to this folder delete me so i see those audio files and now i will come here and say empty trash so at this point i could remove from pull or erase the files um and then as we do this we could see that the original audio files that we had there um you know are the ones that weren't there that are now just kind of removed so we see that four of those files were removed okay another question hi greg is there a way to set up the quantize to accommodate dotted quarter note time signatures so you know with the quantize settings you know even if it is a dotted quarter note so like if you have a dotted quarter note equals the beat you know it's still going to be the rhythmic uh value so you know it would be one beat but a the rhythmic value would be a dotted quarter note so at that point you would quantize to a dotted quarter note or quantize to an eighth note so you know regardless if it is you know uh dotted quarter is the beat or a quarter note as a beat you know it's still going to be the same actual value that you would use you know the same rhythmic value that you use for the quantizing um is applicable either way so you know it's still a dotted quarter note as it's notated and as it's played back and that that's what you'd want to use for quantizing for a dot a quarter or an eighth note is still an eighth note rhythmically so it may be you know a third of the beat or you know half of a beat but it's still the same notated you know so you want to think of the quantized value as you know the notated value uh that would be written so it would be it's kind of still the same all right we have just a minute or two left i was lucky my wife was able to get home to pick up my son from the bus stop so gave us some more time so thanks to my wife for that okay all right great to see david reuter and uh kristen parisi from nashville missing you guys hope you're doing well i enjoy seeing your your trout you've been catching your fish and congratulations on your new grand child all right my chat field just jumped all right so we have a minute or two left let me see if i can get back in time all right all right all right uh so i just see can you go through chord assistance please all right so if we have a chord track um it will do this and this may be the only left wrap up probably after this thanks everyone for the great questions uh and you know i'm so let's say i'm doing a chord right and i let's say okay we'll be in d minor we'll add another chord so we'll make this a g minor um and then i wanted to end on an a minor chord so i could come here and let's say i have these chords but i want a chord to go kind of in between that makes musical sense so if i have this as an x i could double click and go to the chord assistant and we could see this by different levels of complexity and we could base this based on common chord notes or cadences which are kind of common chord progressions but you could also see this visually graphically so you could say okay we're in you know um you know so i could see kind of the chords that would make sense kind of you know before and after so if as soon as i come here get to the court assistant or we could see this as based on circle of fifths so you could have and this is how like many jazz songs are just kind of created they just kind of go around a circle fist do a turn around and kind of get back to the home tonic chord and be able to go around so that will give you some you know interesting perspectives that you could try to audition through all right we're just about out of time uh i want to thank everyone for the wonderful questions we'll be doing this the next live stream on friday starting at 1 p.m u.s eastern be the same time as it was today so for those that we know there's different daylight saving times so just be aware of that everyone please stay safe and healthy and we'll see everyone on the next hangout thank you for wonderful questions and a great live stream take care

Channel: Cubase

Views: 12,600

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: BAbhe0cqXvo

Length: 239min 50sec (14390 seconds)

Published: Tue Mar 16 2021