What is the difference between bypassing an insert vs. disabling it | Club Cubase June 9 2023

foreign hello welcome to the June 9th 2023 Club Cubase live stream my name is gregundo and I'm the host of the live stream if you have not attended a live stream before how it works is you can either submit questions in advance to Club Cubase at steinberg.de or simply ask your question in the live chat field when asking questions it's helpful if you could specify which level of Cubase that you're running so if it's Cubase l e a i elements artist or Pro or other Steinberg programs and which version number so if it's 10 10.5 11 or 12 that information is always helpful in addition to which operating system that you're running realize that my ability to answer questions in a real-time manner will probably soon be eclipsed I'll try my best throughout the live stream to catch up so if you don't see an immediate response to your question um just if we could avoid asking the same question over and over again that would be appreciated um so um so and we should have the all the topics that are discussed in today's live stream uh pinned to the top of the comments field of several hours after the live stream with timestamps you can look there and quickly navigate to different topics if you wanted to search for different topics have been covered in previous live streams I think we're at 26 000 plus questions you could go to cubaseindex.com and we have Jan from Stockholm who's created that website he's I don't think he's going to be able to join us today he's on vacation so we're gonna whenever it comes back we'll all wish Jana that he had a wonderful relaxing vacation we also have two people that serve as moderators uh we have Agent K and Jazz dude they're not Steinberg employees they just want to make this a better community and help out in moderation so we want to give a special thanks to them also Jazz dude gets kudos for his wonderful work with the Cubase Nation Discord server so check that out it's a great resource of information for the Steinberg Community lots of really pertinent insightful information that can make using your computer for music production better we also uh just a quick point I'm once again my name is Greg undo and I'm presenting from outside of Washington DC area in Alexandria Virginia I work for Yamaha Corporation of America basically is uh focusing on Steinberg products um so if you're watching this live please feel free to introduce yourself and tell us where you're from It's Always fascinating to see people from all over the world join the live streams and with that we will go ahead and get started okay okay so we have rolling stuff just checking in uh from the south coast of England where believe it or not the sun is shining that's great thanks for joining us all right uno memento from Finland asked uh question how to copy in an event on a drum editor a no control D but I mean drag and drop I remember it was alt plus left Mouse button but maybe not anymore all right so let's look at uh events within the drum editor here so let me just say if I wanted to copy um particular settings here if I wanted to duplicate this so I think if you hold down alt or option we could just copy just like so we could also if we are selecting the events and just hold down alt or so I'm just holding down uh if just holding down the alt or option key we'll drag now if we wanted to make sure that all these events were in the same exact time like if we wanted to double a snare or something like that if we hold down or all so try to select move then if you hold down the ALT key you'll see like the little plus sign or you could if you hold down control so if I moved it accidentally in time if I moved it vertically first then I hold down control or command it can now I can't change the direction I can't change the time so it's going to be in the same exact time so try just to you know if you hold down I think alt on the note you can you know choose to enter notes in but if you select the notes and then hold down uh so select the notes then before releasing the left Mouse button hold down the alt or option key then you can just make copies like so but if it's kind of set up by default where if you're here we could just switch to a different tool for entering in or selecting different notes like so let me know if that's helpful all right we see Jazz dude on from Germany we have Walter Blackledge just um from St Louis all right um and he says uh Greg can you recommend a video on creating a template for my projects uh thanks in advance you know so really I find templates always to be pretty personal so if someone made a you know particular uh template it may not make sense for you know if they make a template with a bunch of plugins that aren't in your particular system you know the template could be kind of not so relevant for you and your needs if you're doing templates for scoring like for orchestral work or you're doing templates where okay I'm writing a pop song or I'm recording bands each of those different scenarios could um you know have different templates one thing that I would recommend if you wanted to perhaps start with a template is to we'll go to like a new project and let's say you want to use a project as a basis I will come over and say okay I want to take this particular project um I'll just go to recent projects here okay so let's say if I'm working on this particular project and I know that this could be a template where I have the drums miked up maybe a studio Studio piano so it's different elements I have routing I have my groups assigned kind of as I would expect one quick way of doing this is just to say Okay I want to go to a new project and one thing you have to be careful of when doing this from an existing project is we don't want to necessarily save a template that is referring and we'll load up the audio files or midi information on different tracks so if we go to your file menu and just come over to import tracks from Project I will choose this particular project so we're going to say or I'll just start with the brand brand new project okay and now I want to go to import tracks from Project and we'll sneak back up and say okay we want to import tracks from this particular project so what I'm going to do is to select all and where we see track data to be imported I'm going to uncheck events and parts so at this point I hit OK all those particular tracks in that project have now been imported and at this point we could just choose to uh save as template so we come right over here we'll go to your file menu and save as template and give it a name um but you know some people may do a template uh when starting off you know if it's kind of like okay I want to record like a band uh you may see okay I wanted to add um let's say I had six mono tracks let's add two stereo tracks I want to add for mono and let's say I want to load up an instrument I want to have like a Halloween Sonic to play back like a piano or an organ part quickly so at this point so we'll just load up quick piano sound so if I wanted to now name these particular tracks it'll say Okay I want to do kick snare hat Tom hi and you can hit the Tab Key to Mid as we're doing this sort of say Tom I hit now hit the tab key that will automatically take you to the next naming field and we'll say base mic electric guitar acoustic guitar all right and so we can let's say I'll just make this acoustic and we'll say piano and let's just add a couple of effect sends I'm going to select all the tracks and right click and we'll say Okay I want to add start off with the Reverb and let's start off with a delay just to get going so we'll say okay let's add an effects track so now all these will be routed and then I could add a couple of group channels so we'll just make it like four groups we'll make up stereo groups and then once you have everything kind of set up as you want is the default again just come over here save as template and we'll we will call it Walter and if you're doing like um you know orchestral scoring where you want to have your full Orchestra as a template which is pretty common um you know you could just load up all your different instruments to make up your Orchestra and have access to all of your sounds but again templates can be really personal depending on what type of project you want to do uh what what plugins what instruments you want to start off with some people will want to start with the template some people don't want to always work with the same exact sounds and feel that templates will kind of predispose them to particular workflows so it could be a little different for everyone's needs but great to see you on Walter and Walters from St Louis all right we have Robbie bowling from Dallas Texas we see Michael Pierce it's gonna be dropping in and out it's getting to the end of exam season so good luck with your tutoring we're glad to see you can make it today all right so we see uh hi Greg is there an easy way to make a sample or midi track and change pitch automate it without a VST thank you so if we have a particular audio file just jump back and I'll just show on so if you don't want to use a virtual instrument um I think I may have just a quick test tone let me make sure I don't kill everyone volumize nothing like carrying a great test tone Blaster your speakers okay so you know we could do this a couple different ways one is offline processing so if I wanted to just take this particular let's say I have a test tone right and we just need that all right so we have our test tone here so if I wanted the audio let me just sample or midi tracks if you have like a sample you know one way is just to come in and just say okay we want to take this and go to your audio to processes so and we will see pitch shift so at this point we could just go to an envelope we could set kind of the envelope amount so we say Okay I want this to just pitch shift so we have kind of our steady tone going down so now as we listen to the file so we could do stuff like that if it's going to uh so that's one way of doing it without a VST some people will take just a particular process so let me just go to my direct offline process and I'll remove that another method of doing something like this would be just to drag the file into the sampler control and now as we play back the file I could just go to my pitch bin then you could set the pitch Bend range in the lower left hand corner here so if you wanted to be an octave as I go to do my pitch Bend [Music] and if you're doing it for Midi Parts um you would just kind of draw a pitch Bend IN um just reread it so and so with the midi track if we want to take just a particular midi track here we could just choose to do we'll select pitch Bend this midi system common message there's a pitch Bend setup so we can say okay my instrument is set to two up and two down uh so two semitones up two semitones down it could you know instruments can have those set independently so if I just wanted to draw in Pitch Bend here and say okay at this point we want it to just snap we could at this point just a second as we listen [Music] so we could just kind of draw in Pitch Bend information like that so while we and that's just like playing with your pitch Bend wheel for Midi tracks so let me know if that's helpful for you all right we have Stefan checking in from Sweden thanks for joining us we see Spike Williams checking him from Rhonda Wales Matt Elston checking in from London thanks for joining us today for the live stream all right my Chatfield just jumped all right so we have uh Kenny Thacker says I'm running nuendo 10 is there a video covering using very audio to tune vocals so yeah there's um I think I did like a 12 minute video and it was kind of updated for Cubase and window 10 but we I'm happy to kind of show some stuff here as well so let me just give you a quick overview just load a project with some vocals on it okay so let's say we wanted to tune [Music] so I'm going to double click and usually I take it into like the full sample editor when doing very audio we'll open up the very audio tab we'll click on edit very audio and that will do the analysis of our vocal parts now one of the things that I always do first is switch from kind of the default to show all smart controls so if you wanted to just kind of take quick phrases here and say okay let's move all those to be in tune we could grab kind of the bottom center handle but as we kind of hover it's you know determining the segments of it so we say okay like if I wanted this to be extended out to last longer [Music] we're gonna say Okay stylistically I want that to be very short [Music] so we could go to the uh right Edge to and we could just kind of change where the note starts or Ends by dragging in the center edge our bottom Center will allow us to adjust if a note is slightly Out Of Tune I could just come here and kind of snap that directly into the nearest tonal Center uh the top Center allows us to if we wanted to take the vibrato and minimize the vibrato if we go to the bottom Zone like let's say at this point I just wanted to minimize vibrato here but not there we as we kind of move in the bottom area we could just turn and we click on the bottom we can just turn that one little segment so now I'll adjust that segment and I just want to tame the vibrato just at the end of that particular phrase so we can create new segments and if we go to the edge we could just get a glue gun and join those segments together so we could edit them kind of very naturally as we work with our different elements if I wanted to sometimes working with transitions of particular notes can be interesting especially we have maybe a situation like this where we're going you know from one note to another note and we wanted these transitions to be very natural we see in the upper left hand corner and I'll just make this a little bigger these little Funk these little like triangles so as we move this over I could down not affect the transition between notes but I could straighten up vibrato without affecting those particular things and as we hover over particular notes we could also see this little Anchor Point so I could say I want to let's say our singers pitch and we could probably find one in here like often at the end of phrases uh singer's pitch May drift flat so say okay like at this point so I could move this little Diamond over and then we could grab the upper right hand handle and we could just bring up the pitch so if they drifted flat we could just say oh let's just bring it up here or if I want to move this handle to right here where we kind of entered in that note sharp we could just bring down the beginning without affecting the middle parts we could adjust the four minutes here so if we wanted to shift the formants if we've done kind of a lot of changes and we could also adjust the volume so while you're tuning if one one word is just a little too loud you could adjust the volume right there now new in version 12. what was added was the capability of using kind of the scale assistant so if we have a chord track in our project here and we go to very audio we could just say okay we want to only uh do snap pitch editing so we can say okay we want to use the chord track and at this point we could show um so as we wanted to do editing if I didn't know if this note was in tune so it's not going to allow me to put it on the uh C sharp because C sharp is out of the scale so we could have movements restricted based on your musical scale and you could also colorize so if you wanted to come and we'll see kind of different coloring options and one of them you could just say Okay I want to colorize based on scale so if I moved a particular note so we see kind of this color means it's in the scale this green means that it's within the cord but if I moved something to a red note that would indicate that it's out of key and out of scale so that's a quick overview of some of the great things you do in very audio and one of the great things also is if you click on the functions menu you could take this performance and extract it to MIDI information as well so if you wanted to double up if someone just was singing hey can you play a brass part that goes you could turn that into midi and have a brass part actually play that so it's a quick overview some of the functions in very audio so let me know if that makes sense Kenny all right so we have Alan Nielsen checking in from Denmark thank you for joining us all right we have Rick rocks YouTube and joining us from Chicago you just uh go to Chicago all the time all right so we see from uh Alessandro bras or braz uh hi Greg when I create parallel drum bus by creating a send from a drum bus it creates phasing when I do extreme compression uh what is the best way to do parallel drum compression all right so let's go back to another example um so you could always use uh direct routing but I haven't really run into any phase issues but let's go ahead and take a look come here to this example all right so I want to take um my drum tracks here and I'm going to add two group channels okay so we have our two groups and now what I want to do is I could just come over here and I'm going to select all my drum tracks and we're going to go to our sends I'm going to activate Q Link quick link so I'm going to say let's come over here send these all to group one all to group two let's set the same level so that we're at zero DB so now when I play my drone tracks here we can see that [Music] so we have both of these going to our same drum track so even if I wanted to come here [Music] um so now I want to apply like a heavy compression so I'll go to my channel strip and let's just say Okay I want to do like say standard kind of tube compression [Music] grab just do standard compressor and then [Music] so even with kind of standard [Music] so this is our compressed so now that's that's our kind of dry Channel and let's bring [Music] so it doesn't seem like there's any phase issues if you don't want to use effects ends another method that you could use we'll take a look at it in our full console here so I'm just going to go to my effects ends and we will turn off effects ends and all the tracks and we could activate in the racks direct routing so when we go to our direct routing we want to just say let's activate from this little drop down menu we'll say direct routing summing mode on we want to check that so I'm going to activate the direct routing okay so we should see just I'll just add to new group tracks foreign so let's come over here and I'm just going to this point let's look at our direct routing on like our Channel strip here we can do it okay so we're going to choose okay now we're going to go to group one and to group two so what this will do now is each of the tracks will be sent to our two groups again foreign so either way this ends or the direct routing seems to work without any phase so I know people will do kind of both methods uh but you know give that a shot and let me know if it works out for you all right so we see Spike Williams feeling lucky to live in such a beautiful place he said a month of almost cloudless Skies yeah we're just kind of getting over uh smoke from Canadian fires in Washington DC area so it's much better today but this is a weird last couple days we're glad you're having great weather all right we see Peter from Montreal so glad you could join us today all right so we see uh the coast cover band just says uh hi Greg can I use two audio interfaces in Cubase say one for input and one for output so generally not because you know those audio interfaces you know when we're dealing with digital audio you know you could be dealing with you know 48 000 divisions per second uh or up to 192 000 divisions per second with your audio sample rate and you know if you run two audio interfaces there isn't necessarily a good way to clock and properly synchronize the two different audio interfaces some people will do it on uh on Mac OS you could have an aggregate device but it compounds the latency and the vast majority of the time the actual audio interfaces aren't aren't actually synced so it's just kind of freewheeling so it's generally you know if you need more ins and outs is you know get an audio interface it has expansion capabilities but most Daws will kind of work that same way and it's just kind of uh how there's no proper you know synchronization between the two audio interfaces all right so wonderful to see John Costigan from Kenosha Wisconsin let me see the coast cover band is from Amsterdam in Holland thank you all right so uh we have a question from Adam dracone uh says hi Greg question is there a way to trigger multiple samples in sampler track uh no I can do that in backbone and groove agent but I can't figure out uh um can't figure out using azio for all works but the clocking okay I'm sorry um but I can't figure out to do this outside of those um so you have the sampler track is intended to be a single instrument so or single audio file so when we deal with the sampler track and if you needed to do you know multiple samples and the intention is to be like a really quick easy sound design function uh and if you start there and you need to take it into Groove agent which could have like 32 samples per pad and you know 128 pads we could just simply export you know kind of take this and Export the it directly into groovagent SE so uh at that point you know that will allow you to have multiple samples so the sampler track is is kind of designed to be a single sample function all right see Michael Pierce also just saying the clocking is ropey for using multiple audio interfaces all right wonderful to see soaring from Sweden glad you can make it today all right so we see uno memento says Greg I can only move events by Alt they're not copied what's up all right so things with the drum editor question [Music] roll back here all right so when I'm doing it because in the durometer so it tries to select the events first and then as you move hold down the ALT key before releasing the alt or option key so if you start with the ALT key it's going to turn it into like the drumstick tool so try to select then you know so we're going to kind of make a selection of the events click on the events hold down the alt or option key and then drag down so let me know if that works for you Uno all right we have parabot two just saying hi so thanks for joining us today in the live stream all right so we see um Daniella just says I wrote several weeks ago but never got a response so I think right after that I had my computer I think like that Friday that you may have written I had to send my computer back to it and get it re-imaged so I may I'll see if I could dig up the email again and then uh for the last two or three weeks it was just resolved I think on Monday the club Cubase at steinberg.te wasn't forwarding properly to my email but we finally got that set so if you want to send it again I'll keep my eye out for Daniela wonderful to see Michael teens from Weatherford Texas I think the virtual ice cream distribution will begin enjoyed playing bass on your song hope you got the part all right I I see thanks Greg for great bass tracks glad you like it and Michael wants everyone to whack the like button all right my Chatfield just jumped okay so we see little wing audio says okay I stood up and turned around and backed it up to the like button and had a seat on it and he was like number 26 sorry thank you for that all right so we have Michael Marshall joining us from Somerset UK thanks for joining us again all right so we see uh howdy Greg how do you write labels in the marker track thanks okay so let's I think have a marker track here all right so there is if we have the marker track selected so it's not actually kind of in the label but if you just come over here and just hit the description um we could as we do that then the labels the description will appear now there is a function uh to you know just set it up on my midi remote here quickly just to show all right so I I want to assign this button I think there's a insert and name marker function so we'll just come over here I'm just going to browse and I think it's just insert all right I'll just search under marker right so it might be add and edit position markers let me see if that's the function I'm thinking of okay so my timeline is here so now as soon as I have that function I can just type the marker name in and then the name will just appear so there's a the function of uh add and edit Mark like position marker and then you could just kind of type in directly right there wherever the position is so and then you just the name field is automatically shown so say so that way you could just navigate and see the markers by name another way of doing it is you know just when you have the marker track selected if you open this you could go to the marker track and I think it's also just the control m Ctrl or command plus the letter M you could just name the markers and if you have a number of markers and you have the name the description field selected hit the down button and then you could just name the particular markers all in line so let me know if that helps Michael and once again I really enjoyed playing bass on your song all right so we have value checking in he says he's finally back full time he's checking in from rainy uh from a sunny summer rainy Vienna thanks for joining us today glad that you're going to be back full time with us all right so you see Michael Pierce's uh Revelation today never used a very audio with Anchor Point uh new experiment for next week all in the first 24 minutes that's good I feel like I did my job all right so we see from Filter freak uh she says if I have a drum map loaded with Groove agent 5se then go to the key editor on a different vsti track and enable step mode and play my keys with my controller only one note gets recorded C3 okay so let me see okay so let's say if I am here I have I'll just foreign [Music] so I have a drum map loaded with Groove agent 5 SE um okay so here I have my drum map loaded so when I go to this particular okay then I go to the key editor on a different vsti track and enable step mode and play my keys uh with my controller only one note gets recorded C3 okay so I have that selected I'm going to come here and I'll delete all the notes and I'll just move it into my same time position get to my step entry now as I [Music] so it looks like everything [Music] um worked as expected um so let me know if I did something differently so I have the drum map loaded here so I was in urban ballads so you had drum map load it and then go to the key editor on a different vsti track enable step mode to play my keys with my guitar only one note gets recorded C3 so I'm going to do it just on my drum track as well to see if that all right and let me just switch this so we see only so there's the notes I just played let me go back to my key editor [Music] so that all seems to kind of work as expected um check in your key editor here so there you know could be that um you know there's some settings in Step entry where perhaps it's not recording you know because you could say okay I have this particular note selected you know make sure that you have the record pitch turned on on that particular track so if I don't have record pitch foreign it will only put it onto C3 so check this little icon right here and make sure that record pitch is turned on [Music] and without that enabled so just this little note that says record pitch it'll fix it to C3 so to check that and I bet that will do it for you let me know if that helps all right we see Michael teams has started the ice cream distribution everyone's happy see John Costigan also likes the anchor points in very audio all right so we have base uh I'm gonna say base Reich but I'm sure saying hi from Paris but I'm sure I pronounced that wrong sorry I only studied Spanish in school so it's very basic or something all right and we have Carol Majewski from Poland thanks for joining us wonderful to have you guys both on the live stream all right so we see um Candace nuts asks uh hello I am new to Cubase where can I lower the click volume all right so if you're using the control room you could just adjust a click here so you have a click volume but you could also if you go to transport to metronome setup at this point you could go to click sounds and then you'll see the audio click level so you could adjust it directly there so try those two areas and let me know if that's helpful for you all right wonderful see braxel on from Texas all right so we have Arctic Studios just saying hello and I am araka from Kenya thanks for joining us and being on the live stream today uh we have a question from Alex Morgan um hi Greg is there a project logical editor macro that can be made to select only Frozen tracks let's take a look see if we can get one okay so let's say I want to freeze this track and let's freeze this track okay so let's say now I'm going to move them and because they're frozen so I've never tried this but we'll give it a shot so let's say we want to select and we'll choose container type is equal to track let's see if it's one of the properties see it doesn't look like it's one of the properties here let me just see if is disabled we'll do it I'm not sure if it will I'm going to select this track okay I don't think frozen is one of the properties let me just see yeah so I don't see a way of doing it with project logical editor unfortunately I'll kind of bring that to their attention um and see if there's maybe a way to add that but I don't know of a way I don't see it as kind of a a selectable Choice unfortunately in the project logical editor sorry about that Alex all right so we see a question from braxel um this Cubase 12 Pro have a place you can write lyrics so you could obviously do it in the score editor but I one other method that I often use is let's come over I think I have an example so a lot of times people will write it on the marker track dude there is a global if you get to edit or let's say you go to say we go to Project one of the things that you could do is also have a project Notepad just get that open so there is a project notepad so often I will in the project notepad I'll put like you know uh I will have you know note tracks but I often have the lyrics kind of typed in to the project notepad like this and that could be exported as a file uh one of the things I've also done is when we go to like visibility I have a folder track or a marker track here that's just the lyrics so if I'm want to edit just this you know say I'm cutting vocals you know because a lot of times the engineers like yeah measure 17 and the vocalist is like oh what about um you know I want I want to go back to the I've got to choose and then you could just navigate here and say okay let's punch that line in or listen to that phrase see your eyes so at this point you could just say oh you know I didn't like the phrase up until now so you could just have that marker so I just added markers and as the marker description okay you want to do that again okay you know let's listen to this so I just navigate markers [Music] and I was like I didn't like the phrase when I said scratching the vinyl so let's listen to that then you could just navigate and search and just you know look for the particular line because that's how the singer is often doing it [Music] so so this way you could you know just have the lyrics and if you needed to see them on the timeline you could just have it as kind of the marker track [Music] I've got to choose what's the matter what's yours so this way I just have kind of the markers you have the lyrics so that's one way that I often use when kind of doing a lot of vocal recording and I think uh Ted Pearlman also mentioned that's kind of like a technique he does when he's doing vocals and then you just kind of tuck it away when you need it so that's one way of having um lyrics on your on in the project all right so we see a question is there any way of duplicating selected time in the midi editor So currently in the midi editor it doesn't work that way and but if we want it to come over to the In-Place editor so let's say in my midi editor I had just so if I didn't have the measure that was filled up here so let's say I wanted to duplicate like this I wanted to duplicate this measure but I don't have space at the beginning or the end so let me just delete that note so if I select these notes and duplicate I duplicate the notes kind of straight back to back but it's not necessarily the time of the measure to do that you could use the In-Place editor so if you hit um control or command plus shift and the letter i we could open this up so let's say well you know we we're not filling the entire range here but I want to duplicate this measure so it has the same space before and after now we could go to the range selection tool and I could select that and now as I duplicate we could you know have that particular space selected before and after so try hitting control or command shift and the letter I and then you could use the range tool and that same command will open and close the In-Place editor so I I've asked what I feature like a for the range tool inside of the key editor maybe we'll see it someday you know but that's how you could do it quickly if you needed to use the In-Place editor all right so we have uh some Nala online TV thanks for joining us today all right so we have thiago's glad you can make it all right so we have Matt Elder checking in from Toronto all right so uh Candace nuts asked how to import multiple tracks at once okay so let's say you know one way is just to come over here you can say I went to import tracks from project and come over here so let's say I want and exactly I want all these drum tracks to be imported so now we could just put that into an existing project another method is if you're dragging files uh we can show this with a new project um let's go over to let's say our media Bay I'll get to my file browser and say okay let's go to projects and I wanted to just drag a number of files over so let's say okay I'm here and I'm in the audio just go up one level sorry about that all right so let's say I wanted to import like multiple tracks here I could just drag it to my project window and then I could say oh let's put them onto different tracks and as we do this all of my files will be put onto different track sets you know so you could just drag and drop and you'll get asked if you want to put onto one track or put it onto multiple tracks which use multiple tracks then it'll just all be kind of spread out so let me know if that's helpful for you all right we're glad that Paul from Munich can make it thanks for saying hi thanks for being on to live stream today all right so we have a question from parabot two uh hi Greg can we cycle through sounds to audition them in on the step designer so I'm not sure if it's like step designer sequences that you want to cycle through we have okay so let's say um all right so let's say we have maybe a quick howling in so once you're here um so let's say we go to pattern 30. I think that you can switch to patterns just from midi notes so let's say I have and I hit a different midi note on my controller [Music] so I'm just hitting a different midi note so a step designer you could just take and switch between different just using the particular midi notes to switch between different patterns so let me know when you say the sound if it's the step designer that you just want to switch between the kind of the presets or if you wanted to switch the sounds and that would be just done in the instrument itself so but let me know if that makes sense and is that kind of what you want it to do right so you see Connor Sykes just says hi from the UK recently moved over to Cubase as my primary dog very impressed so far uh still a lot to learn haha yep so it was a deep program but we were so glad that you could that you're in the Steinberg family and that you're on the live stream and please feel free to ask any questions that you have all right so we see uh and I see this directed to Jazz dude says a high Jazz dude as uh this trial version Cubase 12 have spectral layer my Cubase 10 Pro doesn't um so with the trial version of Cubase with Cubase 10 and I think with uh um you may have been in Cubase 10 but there's a spectral layers one and that's part of the Cubase license that we've got the Cubase 12 trial uh you'll have special layers one but there's a separate Specter layers Pro uh trial version as well all right filter freak says hit the like button and keep Greg in work so me and my family would appreciate that so thank you for the kind sentiment all right so we see a question from Thiago says uh when cutting multiple tracks by folder track uh does zero cross still work sometimes I hear clicks when I cut audio events even when enabled what am I doing wrong so let's give it a test and find out I can see that where you know may not apply to the folder track as the folder track doesn't have zero Crossing um but let's just give it a shot here real quick let's do some test tones so we can hear that so I'll just do keeping the wrong modifier key sorry about that okay so I'll just turn the volume down here real quick okay okay so now we play back here so if I don't have zero Crossing enabled so and you you could activate if you're not familiar with zero Crossing is so once this is turned on um if I want to cut um like in them you can see how it's only going to restrict me to cut like where the ample where the amplitude of the particular file is at the zero Crossing okay so now it's going to restrict our editing once zero Crossing is turned on if I turn that off I can cut in the middle and there's a chance that that edit if I do anything may result in like a little pop or click so let's just take a quick listen so um but I think we're okay with that so let's see if you turn on we'll zoom in here so the folder track because you're cutting the folder and not necessarily the events in the folder you know that makes sense to me that it wouldn't necessarily be on the you know so you're cutting the folder tractors no zero Crossing because the folder track can contain not only audio but midi and video so if you wanted to do that I would cut I would select you know the audio events themselves and cut and then as we zoom in here we could make sure that that particular edit is going to be at the zero Crossing so you know cutting the folder won't necessarily carry over the zero Crossing because there's no zero Crossing in the folder per se so all right all right so we see um please show how to quantize or set in tune on the beat drum specifically kick snare hi-hat that bit off that are I guess that are a bit off please start from the lightning imported stems to the project okay so I'm not sure if it's in this from uh some some Nala online TV so I'm not I I'm gonna assume that this is audio all right so let's um so I'll just start with kind of a straight drum part that's all kind of stemmed basically so I'll revert it all right so let me just so these are all just kind of equal length audio recordings um so let's say as I do this I'll make sure my click isn't too loud so let me just so if I want to just take my drums here and we wanted to quantize um or set in tune beat drums kick snare okay so let's say like on that fill especially that we heard from here like we could hear that that is kind of sped up in time so what we want to do is one I'm gonna take all the drum tracks and I'm gonna put them into a folder so I select all the drums and we're going to say move selected tracks to new folder once we do that I want to you know so we have them in a folder I'm going to double click on the event and this will open up and we want to get to hit points so I'm going to find like my kick and we're going to set the threshold and the concept here is that it's not going to include like any of the drums are bleeding through so we're gonna have like some fills Toms and I want to find kind of the same threshold for my snare so again double click that will launch make sure you're in the hit points tab adjust the threshold to take other drums out and let's go to let's say our hi-hat we'll just threshold here to get rid of unwanted bleed all right so now that all these are done I'm going to enable what we call group editing so now when I do an edit across all these drums they're all going to uh you know when I do an edit it's going to do it to all of the drones and not just one single event it's kind of grouped together we'll go to our quantize panel we're going to set our priorities so you say Okay I want my kick to have four star five star priority my snare let's say um four stars made my hi-hat three so what I want to do now is once we come over here we're going to click on okay we're going to create we're going to set our quantized value so what that's going to do is basically just take our slices so we're gonna you know slice the audio okay so now it's created hundreds of little slices we're going to choose 16th notes so we're going to now at this point quantize which will often leave little gaps of Silence and it's done it across all the different tracks and then we could just choose to cross fade those gaps so as we listen to our drums [Music] listen to our fill that was speeding up in the snare [Music] so that's how you could do it um so let me know if that makes sense and if it wasn't for audio drums let me know if it was for Midi stuff foreign question is it possible to quote unquote ride draw with the gain line in the track uh the track itself um so if you wanted to adjust the gain of the track you know we could just grab the pen you know so automation is going to be underneath the track so we could just come here and if we have automation enabled we could we just some tuck some stuff away so we could just come here and see the Automation and if we wanted to just turn on the settings we could just say Okay I want to show data on the track so I could just draw in automation like that we could also just grab the pencil tool and do pre-gain automation directly there and we can see that that will affect the waveform or if you wanted to just do like a clip based gain we could just come here and it just like that so let me so we could do pencil tool on the event and our clip gain which is pre-fader or you could just see the automation on the events and you may have to hit F6 and just come over here and go to settings and you could just say show data on tracks and then you can see the waveform to draw on and that's helpful if you have like you know 20 different things that you're automating especially if you're getting into like Atmos mixing and stuff like that okay so we see um Robert Victor asks uh what is the difference between set Tempo from event and set definition from Tempo okay so if we have a loop I'll just do a new project here or let me just I'll start with a different approach here hang on okay so when we come over here so let's say if we have our tempo [Music] so if I turn on my Tempo here you can hear that there's no correlation with the bars and beats from that so but I'm going to let's say input a quick drum Loop okay okay so now I put this drum Loop in and generally you could look at the name of the drum Loop and off into Tempo is indicated here so we see this is probably 98 beats a minute so if right now um I listen to this project and I'll just adjust my Tempo so we can see that okay so we have this Tempo so let's say we want to go to our audio I think they're both going to be under Advanced and we'll say set Tempo from event so this Tempo this event here has one static tempo as part of the metadata so we look at our Tempo and I think that once we do that that our Tempo in a project okay so I think when we do the set Tempo from event that the event itself let me just try I'm going to just take my Tempo here and let's say we recorded at 108 beats a minute and I add an audio track [Music] okay so when you look at this file in our pool window we'll see that it's going to be 108 beats a minute all right so let me see if we take this I think if we do the set Tempo from event let me just that we could basically just take the particular event and at that point um extract the tempo from the event where is if we had an audio file that had varying tempo so if I come to this project and we go to the tempo detection and this had different varying tempo what we could do when you say set definition from Tempo we're going to take these multiple points of tempo and when you say set definition these Tempo events will then be embedded into the audio file so we could play it back at a perfectly steady tempo all right so we see from uh values as a question is it possible to patch a back cable like just sending with the effect sandal like just sending with the effects ends to stereo out works but it doesn't sound the same so I'm not sure what you mean by uh uh patch a back cable um so but if I if I took uh let me just so I'm not sure if you are taking like let's say if I take my vocal track here [Music] so I'm not sure if you wanted to take patch this that was okay [Music] okay does it say if I send it to no boss here back in boxes really a musical history so if that's what you're trying to do is to maybe use a send to send it to the stereo out as opposed to the output routing here so one thing that may cause it to sound a little different is if you have effects on that track as well so you know because that maybe that may kind of interfere with the gain structure of effect sends depending how they're set up for you and post fader but let me know if that's what you mean by patch of back cable right John Costigan wants everyone to know that the like button is available free of charge for all Cubase Hangouts so see Michael team says thanks Greg helped perfectly I think it was with naming the markers all right you know Memento and some people whack the like button all right Thiago has a question feature request it says in mix console to retain Zoom configuration for each configuration from you same zoom zoom is applied to all different configurations okay so let's see if we could we'll take this track here so let's say I just want um all right so let's say I want only those tracks so let's save a configuration here no cloud vocal tar all right so we'll say all right so let me just jump back here yes it looks like the Zoom settings are going to be consistent between the different ones but let's see if um all right so let's say if I come here if we do workspaces this probably won't work either but let's see okay yeah so the workspaces I'll I'll mention that as a comment there could be some reasons why it's kind of um set up to have consistent Zoom Factor um but I'll mention at Thiago thanks for bringing it to our attention foreign Pierce has to hop off and RX something I hope you're able to make it back all right so we see filter freak had uh got his step entry issue resolved so it's great all right so we have uh just says question uh hi I'm mircia from Dallas uh how to set up a gain stage on a Cubase project which is the best value minus six minus three DB thank you you do a great job so I usually kind of aim for -6 DB for kind of a total mix um and it could be just kind of out of habit if you're doing you know and it could Depend and we discussed this a little bit on Tuesday's live stream I think where you know it could depend on if you know who the last person in the chain is so if you're kind of doing everything and you're the last person your Cubase mix is what you're going to send off and that's going to be your final product you know you could go a little bit let me just Clear My Throat yeah if you're going to be delivering kind of the final product yourself you know you could have it go up to you know minus three isn't too bad um that's a good safe level if you're sending it off to someone to do mastering for your particular project you know that's when I may want to lean towards more towards a minus six DB or minus 12 DB because they will probably want to have that flexibility in the you know in the dynamic range to you know to work on the gain consistency between track to track so but if you're you know in an ideal world that's you know you take it to like a phenomenal mastering engineer and they would just put that little magic touch and they would have like very sophisticated tools to get gain uh and you know retain transients and Dynamics but you know not everyone is in a perfect you know utopian workflow like that and if you're kind of doing it yourself you know my history or minus six is a great place to be and thanks for joining us and we have several people from Dallas on the live stream Michael teams is in Weatherford and Robbie Boeing's in Dallas Michael teams just has always learn something from the hangout such a fabulous resource thanks and glad it's helpful for people all right so we see a question uh also after freezing tracks how do I how do I print them back to audio right so let's just give it a try I always was more of a render in place person but let's say if I want to take this and let's freeze the track quickly here here I'll do it on the other project foreign have I'll just be worked okay so let's say we freeze all right so let's see if we just take that and let's see if we render in place all right so it's not gonna last do that so I think that once you go into the pool window that it's or if we go into like the project folder so let me just come over let me just check okay so now we go to our project folder that the audio file is in there so when we go to edits or you'll see just the freeze folder and here is the WAV file so you could copy that directly into the project um and if you wanted the WAV file to you know if you wanted to free up resources and used and have access to the WAV file you know one of the great that's why personally you know I I'm a more of a render and place person as opposed to freezing because what you could do with a render in place is I could you know select I could select this track here and I'll just go to render in place and I'll just say okay let's get to my render settings I want to render this as you know individual parts or as one event I want to just come over here and disable the source track so now when I hit render now this track is disabled and not using anything and I have my audio file and I could you know still edit my data so it's a little more flexible than freezing so if you you know so if you go into the freeze holder Within the project folder you could and that you could you know just drag and drop the particular audio file right back to where you were or you know consider maybe utilizing render in place because that might be a better solution it's a little more flexible and one other thing that you might be able to do is let's say if we have this Frozen we'll give this a shot here so we'll freeze it let's see if we could route this to a group and add an audio track and we'll set that group as the input so now as we play and just hit record so it's a Frozen part and now we could just come right over here and just record the output so we could route it through a bus and then take that bus as the input for the audio track so a couple different approaches all right so we see Larry B on so glad you could make it today you don't have to worry about being late we're not in school so and also braxles from Dallas area braxell asked uh Greg how long have you been doing these live streams I really enjoy them so I used to do like one a month and that may have started like 2010 or so uh or 2013 2014-ish maybe um and then when the covid started um we just you know because I used to travel constantly uh kind of pre-covered I was you know flying 120 000 miles a year uh and then when travel got grounded we just started to do uh live streams twice a week and we've been doing them like twice a week roughly for the last three years two months so I think we started March 17th 2020 uh so we've been kind of really ramped it up during uh covid and you know even though a lot of people are back at work the live streams are still popular so we're glad that they're helpful for people all right wonderful see razel from Denmark glad you can make it today Michael teams just saying lyrics on the project Revelation so yeah it's just a further continuance of your naming markers all right so we have 16 flow joining from Kenya thanks for being on wonderful have people from all over the world okay my Chatfield just jumped let me just catch up let's see value likes the lyrics in the project too all right so uh Bellator Lucas or Lucy's uh asks how to change the sample BPM so if we have a drum Loop let's say you know and a lot of times you know if you just kind of listen to a particular drum Loop we'll come here [Music] so if we start we can count the number of Beats two three four five six seven eight all right so there's eight beats so if you don't know what the tempo is so a lot of times you may see like the tempo as part of the name of the audio file but if you don't know what the tempo is we could just come right over here and go to beat calculator and say okay let's this is eight beats and now okay this is a hundred beats a minute so once we know kind of what the original Tempo is we could go into like the pull window and we can say okay and we'll see our Tempo information here so as soon as we say okay future chill um we select this we see that you know maybe our Tempo is uh you know we could set the origin Tempo so once you know what the origin Tempo is you can set it in the pool and then once it's in musical mode all I have to do is enable musical mode here so that's here like in this case this is so we can see that's eight beats let's go back to our beat calculator just so we can see it again get a project to beat calculator all right so we say eight beats it's 120 beats a minute so we know what the tempo is so and we're going to set that 120 beats per minute and if you record audio into Cubase it's automatically going to be Tempo stamped but if you had to figure out what the tempo was then you'll see let's put it into musical mode so we're going to just select a file put it into musical mode and once the file is in musical mode we could also do it right here in the project now whatever Tempo I play back at it will just automatically slow down and speed up so it's like I want to be 140. I'm going to be 88. so it's just going to change the BPM to match the project beats per minute just like that [Music] so figure out what the tempo is of the audio file placed into musical mode change the tempo in Cubase and that Loop will automatically follow straight along all right so a question from uh Ahmed Ali hello to Cubase people and Greg uh using Cubase for film project I have a small question for post is there a way to redirect your LFE to a sub master and print the track within Cubase um all right so let me just set up a new project here uh all right and let me just all right so see if it's going to be um all right so just think about this real quick um it was small is it in post there's a way to redirect your Alfie for sub master and print the track within Cubase so if we just all right so I'm going to add like a five one output so it can go to my Audio Connections let's add an output four five one okay I'm going to add an audio track we're going to Route it to our five one output all right so let's say at this point I'll just put some tone in all right and we'll make it white noise all right so let's say all right I'm just going to copy the plugin over to all right let me just create a five one out foreign I'm just going to create a five one in okay so let's say if I come here and I'm just going to record just to get some multi-channel content okay so now we have kind of a test tone and we have data kind of it's like a as an interleaved file okay so if we want it to just export just to LFE if we come to export audio mix down um and we say okay we want to do not our stereo but let's choose to do this as split channels all right let me just put them into the project this time sorry about that so we'll do our export audio mix down and on after export we're going to create audio track right and then we would just have the LFE Channel the LFE channel is just going to be printed directly there so if I wanted to come here I'll just turn that off so if we have everything in our five one mix down so if you want it to do that so now if we want it and just make sure I'm reading this right so but let me know if you know if we come over here so I'm going to make sure this isn't routed so we have our five one interleaved let's go to our export audio mix down we're going to split channels create audio files into project and then you'll just have your LFE Channel printed directly there so let me know if that is kind of what you want to do or if you need to do it kind of in real time for processing but you could print and isolate the LFE Channel if you want just by choosing not to have an inner lead file on the export okay so we see uh from parabot 2 maybe I misunderstood uh it just says uh went in Step designer with a pattern running is there a way to audition different sounds on the fly so let me just go back to that particular project right so let's say I have my step designer sequence here so I'm just going to go into the instrument itself because this is just generating midi data so if I open up the instrument and then just check the channel on this so I'll just go to channel two foreign [Music] if I wanted to come over here and just get a voltage [Music] I may have two different sounds layered so just doubt [Music] so we just hit the down arrow key and enter [Music] so let me know if that's kind of what you want to do but you know it's just switching the uh the sounds within the instrument that the midi track Arrangement track that step designer is a midi insert on all right wonderful see Roger on in the Heartbreak time machine glad you guys could both make it all right so we see from um some Nala online TV says thanks Greg for answering the drum quantize if there are other instrument tracks and lead vocal do I put all into folder track um so if if you don't um you don't have to put them in the folder track it's just those you know whatever's in the folder track will kind of be quantized together so a lot of times you may not want to quantize your vocal or other instruments the same way you do drums so all right so we see value just set a clarification on your back cable equals rear end and it's like uh and he said ah thank you Greg I never send it to no bus thank you all right so we see a question um thanks what is the purpose of the input signal faders all right so we have input faders let's you know one of the things that you have is the ability to as we're working um you know if you if you needed to add more gain uh I'll give you an example um like I think it was 2004 or so I was uh I got to work on the it was one of the audio Engineers on the Eric Clapton's Crossroads Festival which at the time was you know I think the biggest selling music DVD and Warner Brothers history um and we I had to do and we had two different you know it was like a revolving stage and it had two different um two different recording systems that would alternate so one was kind of getting set up while the other was performing and recording and you know it was incredibly fortunate got to record like Eric Clapton and John Mayer and Eric Johnson and George Lynch and all sorts of uh amazing guitar players it was a great experience but I was sitting kind of at front of house and I couldn't actually um you know I I didn't have any level of controls that were being sent to me so what I was able to do is just to come over and you know once you have your input channels and we could think of it as like an input trim going software wise so I could say let's add so at this time we were doing uh I think we're doing 48 tracks of 24-bit 96k so I could just come over here say okay you know and I did this also with a project for an Alan Parsons concert so when I come over we'll say okay let's add our input buses so what I could do now is just to you know if the band which always soundtracks always sound checks at a much lower level and while you know if you notice that their levels their input levels are creeping up and you have no real like I was taking a split off of the front of house console so what I could do is just Q Link and as needed like as the band would get louder between the songs I could just bring down the level so we could attenuate the levels of a super hot signal before the before it actually hits the channel in Cuba so we're not printing overloading files now also what you could do if you have plugins that have zero latency so a lot of plugins will have zero latency you could actually just choose to you know apply eqs if you wanted to do um like if we get to the EQ and you wanted to just apply like a low cut filter we could apply that and this would actually be applied to the recording so this would be embedded into the recording and not just processed while the recording is playing back so the input channels allow you to change the signal either the level you could get more level less level or or actually record through different plugins now some plugins as you put them on the input Channel May incur latency but there's a lot of plugins like I've done a lot of tracking with uh like you know Steinberg has the Rupert new Portico plugins the 5033 and 5043 so it's an EQ and a compressor but those plugins don't have any latency at all so I could actually just put those and print those on my input channels without any additional latency being added so if if you want to attenuate the levels or boost the levels or if you wanted to apply plugins to the recording while you're recording it you could use input channels okay um so we see from uh James Warburton music says hi thanks for the great work Greg how do you share the video track in a lower zone I'm sure I've seen it above the midi down every can't get it to work out how it's done thank you so you know the lower Zone you could have you know like different midi editors the sample content cord pads and midi remote so there isn't like a Zone dedicated to video but what a lot of people do is if you have a project with video If you hit f8 that will open up kind of the video window so you'll have like a video thumbnail track once it's imported so let's say if we go to import video file okay so now as we play we could have the video uh we so we see the thumbnail and if you hit f8 we could do this as some people I know we'll have the video you know often on a second monitor so you could double click and you have the Go full screen on a dedicated monitor or you could just position this window underneath other other windows if you wanted to so if you wanted to take your Cubase project here and have the video underneath we could you could set it up like that if you wanted to as well but it's not a dedicated lower Zone because it may need more depending on the aspect ratio of the video to work with all right wonderful to see Brian Sawyer from from Beulaville North Carolina thank you glad you can make it today thank you all right so uh some nalia some Nala online TV I see it's directed towards strategy says I want to try Cubase 12 trial other projects they do in the Cubase 12 trial will they be able to open on my cubics 10. so for the most part you know unless there's like very specific functions of new features you know that you know so but generally the projects will open but if you're using a Cubase 12 specific feature that's not going to translate backwards to Cubase 10 but generally the projects will open and it will play back through the same plugins and the same midi will play back so okay so Brian Sawyer wants people to mash the like button so thank you for that Brian I'll I'll concur with Brian's thoughts okay so we have values as a question uh what's your take on advantages of rendering in place instead of freezing so rendering in place was kind of the very simple method of doing it and it was kind of the original way to free up system and CPU and audio performance for your computer so if you had like a really heavy virtual instrument you could just hit one button and would freeze it and play it in the background for you so it's very simple but as we had in the example you know where is the audio file going so that you know um we're rendering in place allows me to not only take multiple files and be able to [Music] let's just find an example here you know and a freeze may allow you to just come over and say okay um so say if I have this set up you know when I freeze I could say Okay I want the audio file to be directly underneath and I could say I want to freeze or I want to render and place these events so freeze would take kind of the whole track into consideration but when I go to my render in place we go to the render settings I can say Okay I want to take these three events but I want these to be um you know separate events because I don't need to add audio of silence and I could choose which types of processing that I have I could add a tail which you could also do on render in place you could give it a specific name and you could choose the path directly here and you could also choose what you're doing with particular events if you wanted to mute events or leave them the same so when I come over here and just say render and let me just import that real quick so we'll come over to our render in place again I could just say now just for those particular events are rendered and if I choose to do the track we could render the track itself and disable or get rid of the tracks I think that render in place has more flexibility it's not as simplistic of like oh it's going to play back and save down you know you have to make choices of processing but it gives you a lot more flexibility than freezing so when render in place was kind of introduced I you know I kind of just chose not to freeze files for the most part and just did render in place and render a place you could do for multiple events too so if I wanted to take these two tracks um here so let's say I want to take or you know that we could do this and this was introduced in I think Cubase 11. or 12 where you could now we could freeze multiple tracks but we could also if I just wanted to take like my instruments and audio I could say okay let's do our render settings and I want it to remove the original tracks I could just come and instead of having the instrument loaded up I could have the instrument in the background and I could do audio and midi very easily and now the midi information was just replaced directly with audio so if I undo that we could see our MIDI and also with render in place I could immediately edit the parts without having to unrender it so some advantages to me of render in place and sometimes you know it's difficult if you introduce a particular workflow and then you we can't take it away and people are so it's it gets so ingrained in people's workflows so we can't take it away so often we have to add another feature which may do something you know may get may get you to the same end result but you know has different approaches and can overcome limitations of the original more simple design okay wonderful easy draws the Eternal on says pausing a live video as its perks all right and we have uh Manish from India thank you for joining us today welcome to the live stream all right so uh vivandy just says uh hey is there a note repeat function to play example hi-hats on the beat and switch with tempo for uh one quarter one eighth so let's come over and just say okay let's get to groove agent here and let me just okay so one of the things you could do is just come over to MIDI inserts and let's get to like a midi Echo um so I'm going to just choose to not so we can come over here and say okay I wanted to do this as uh my delay so I could just choose and if I wanted to automate that I think I could just come over to let's go to my quick controls I'm going to click on learn and let's adjust kind of our rate so as I just come over here and I can control this with a controller and there's also if you have the um the full version of GrooVe agent has kind of note repeat functionality built into it so if you have the full Groove agent 5 we'll show that to you as part of the instrument you have a performance mode so as soon as this is enabled here we just say Okay I want to take [Music] and then we could have different notes that we could trigger so let's say I want to do this note and let's just so you could set up different note repeat functions uh just as a part of GrooVe agent or you know check out the midi Echo plugin which can be automated as well all right thanks for all the wonderful questions from everyone slowly trying to catch up all right wonderful to see uh Gerald Elion sending greetings from Cali this is me sustain and modulate it's great see according to Gareth all we need is a Vestax four track so all right so we have Pete from New York City thanks for joining us today and we have Stephen Cassidy from central Pennsylvania thanks for being on pretty much my mom and dad both grew up in Pennsylvania Northeast Pennsylvania all right sorry to see uh comment from Matt Elder why doesn't it stretch when it went on musical mode um so let's take a look I think I I'm not sure if this is related to a different question or I think it might be when we're discussing kind of maybe the changing the BPM all right so when we look at you know when we're in musical mode we're dealing with you know we're looking at bars and Beats and these are the same bars and beats for this particular file [Music] so if we look at um I'll just add a ruler track here's to make this point or to highlight this and I want to Roller track to be in seconds okay so we can see that when we look at this we're two measures and roughly four maybe 4.8 seconds so we listen to this so if I slow the tempo down and we have this in musical mode we're going to see the measures stay the same but we're going to increase the length of the time so I'm going to slow the tempo down and we see that what was now we're at 5.5 seconds so as we listen to this [Music] still two measures but it's two measures at a slower tempo and if I make it faster it's still two measures we've listened to the [Music] but as we change the tempo the time the measures are staying the same but the time is changing as we adjust the tempo like that so let me know if I'm if I'm misunderstanding the question but or if that made sense all right so we see uh homie just says hi please give me Cubase 12 free so you could you know you have there's a trial version that you could do for uh 60 days so but unfortunately we can't give free software out costs a lot of money to make software so all right so we see a question uh after print AKA render in place is the plug-in latency comprehended so yeah any of the plug-in latencies automatically uh calculated into the rendered file but you could also render it without the plugins so let's say I have effects on this drum Loop here or say I'll just take this here all right I'll just knock it down to say 96 and as we all right so we have some built-in Reverb I'm just going to put uh an audio insert we'll do like a flanger because it's easy to hear [Music] all right so when I select this event we'll come over and go to render in place and we go to the render settings so if we choose channel settings that will be rendered into the file but if we choose dry and transfer channel settings that we see that this has an insert of the flanger so I'll say render it's going to render that file and it has basically copied over the plugin settings if I choose to do a so this way the EQ and all the effects were automatically replicated on the new file so it wasn't processed with those particular files with that with that effect but if I choose to do a render in place and if I do it again and don't mess up this time sorry about that um and I choose to do the channel settings that now the file we play it back we see that there's no insert and we when we play back now that effect from the original track is embedded into it and all the delay compensation is automatically handled foreign us from a very hot UK so we're glad that you could join us okay so I think this question go back to our 5.1 uh question says this is a workaround but I wanted to preview and print my tracks live doing all the changes for the client on the spot and printing them and sending without going through export audio mix down is there a way to record the sound your surround output as an input to a group Channel and to print that so let's go back still have this open Maybe okay so let's go take a look at it here let's see if that's it here let me just all right so let's make a 5.1 group all right so I'm going to get my outputs here foreign okay so it's add five one input okay so we'll call this our source and we'll call this our group and let's do like our capture let me just turn this down here so now I take this and let's get to or sends okay so now we're going out to our sins and I'll just send it to zero DB and now we want this to be group one as our input so if you're sending everything to your group so we'll just call this like our master group then you know everything could be going out to the group and then on the input you could just you know record and capture so it's just come here and as I record we have our 5.1 Source feeding into our 5.1 group it's being captured on this track which is then being routed out to our 5.1 output so you could definitely kind of capture uh directly that way so let me know if that's what you want to do I'll leave the I'll just save this project in case I'm misunderstanding again so we could just jump right back all right so we see uh nungu 68 says awesome thanks for answering my question I hope we're someday in Alexandria yeah it's a great place to to visit so all sorts of great history so I think my house is actually on one of George Washington's Old Farms right so we see uh Gareth has to go do dinner so thanks for joining us Gareth our best to you and your family all right so we have Grant Slawson just says thanks for doing he's Greg hi from Texas so you're welcome I'm just glad that people are still logging in and learning new tips and tricks all right so you see uh Astra apples is from the UK and desperately trying to learn uh Cubase for my music teacher so could be that your music teacher is also watching the live stream so but let us know any questions that you have and thanks for being on all right so we see uh Simon Crockett just says hi Greg tuning in from uh Shoreham by c u k thanks for all this brilliant info as usual uh thank you very much for the kind words sounds like a great place to be I get to travel vicariously through all my live stream friends here all right so we see a question from vivandi um is there a live pitch correction tool for vocals uh within Cubase so yeah you could use there's a plug-in called pitch correction so if I wanted to jump over to this project here and this if we kind of know what the key is I think we're in uh looks like a flat so I'm gonna just come over to my inserts and you'll see under the pitch correct or pitch category pitch shift look for pitch correct and once that's open and you can do some other kind of cool things with this particular plug-in so let's uh just say okay we want it to be uh set to Major and we want that to be uh I think we're in a flat major so now as we do this we can just as we play [Music] if I wanted to set like the speed now you're packing boxes ready to leave so if you wanted to just come over here history see if you wanted more kind of robotic mechanical sounding you could get that effect [Music] we could also shift performance so if I wanted to sound younger perhaps [Music] please [Music] and you could say you could adjust four minutes but you could also have the scale coming from midi so if you wanted to just you know come over here say Okay I want to go to external midi scale or midi notes so you know what's playing I'll just add a midi track dude and then I want um so as we do this I want to set this midi output to I think we'll see the pitch correct Committee in so as I've quite admitted that was okay and then you could actually kind of Route the pitch just by playing a midi note on your controller so yeah so check out uh pitch correct so and that's a real-time tool so you just do it and it's not necessarily kind of like an editing approach that very audio kind of does all right so we have uh Simon Crockett asks um hi Greg I'm still on Cubase Pro 9. if I go donglelist with 12 well I still need to dongle to open up old projects tanks no you know Cubase 12 will open up projects back to Cubase sx1 so all those projects will just import directly into Cubase 12. so you don't need to keep your dongle you know that's licensed to the program not to the projects created in the program so you could just uh simply uh you know just simply load it up load your Cubase 9 project in without the USB e-licenser all right so we see from uh Grant Slawson uh is the 622 plug-in the best way to down mix five one to stereo so it works really well an easy way if we have um let's say if we still have our five one out so let's say if this is going out I have all my tracks going out to a five one output here so I'll just set this but if you go into the control room and at this point you could just say okay we go to your control room you'll see down mix presets so here you could just choose once we have Dominic's presets so we could say Okay I want to go from you know in I don't have my control room set up in five one but if you had your 5.1 speaker setup in the control room you could just come over here you'll see uh you know five one you could have it go to quad to stereo to Mono so you could down mix directly with in the control room without having to instantiate a plug-in I think it's maybe doing the same processing in the background but you don't have to actually turn a particular plug-in on so but the mix you know the mix 62 works great or just kind of use the down mix capabilities uh directly in the control room and I think once you're doing 5.1 that the control room comes in super handy to have one single five one volume knob for everything all right so we see uh from Ahmed Ali says yes that approach can work I will test it out all my sources dialogue uh sound effects Etc is going to separate groups Alfie tracks to a mono bus uh that monobus via the VST multi-panner sends signals to Center Channel yeah and you could also like if you wanted to let me just jump back you know if you wanted to have um let's see if we could set up even if you add let's say a let's say a monophonic group track but you could also just come here and let's say for this group you could just send LFE out to a to a dedicated group right here so it doesn't necessarily have to be like the full 5.1 you know you could just take the LFE in the center channel to separate groups so you can say this is LFE group or if you want this to be your Center channel so it doesn't always have you could Define which of the channels within your five one is going into the group so you could have a 5-1 group or you know not have you know so you could have you know independent groups and this group could go to another group that's a five one if needed so in all with delay compensation okay so we see um see Grant slauson's been a Cubase user since 1987. all right sorry maybe miss a couple questions let me just okay so we see from uh got your uh this question is is there any way in a ranger mode to assign midi keys or CC data to trigger arranger events to do live preview I thought there was failing to find it today um all right so let's just jump to a particular track okay so let me just come here all right so we have a ranger chain event so we could do this I think in both the midi remote or the generic remote setup foreign [Music] events and we want to use the keys here to navigate to different arranger events so let's get to the midi remote I'm going to switch this to so now we will come over it's good to I think we get to key commands to arranger and then we can say trigger Arrangement event one so I'm just gonna assign that hit this all right so now I think while we're playing I could just close this [Music] world was like a brand new place [Applause] [Music] so you could just trigger and you could have it kind of set up to like you know when you go to your jump modes we can say um go One Beat [Music] [Music] [Applause] I feel good so you could set up your uh arranger track to just follow directly from so just come over here go to your key commands and we'll just set up follow go to the arranger track and you could trigger up to 20 different events just kind of like that so let me know if that's what you're looking for all right so it draws the Eternal asks um is there is there an auto melody or chord generator built into Cubase 12. um so and also is there an auto drum pattern generator built into Cubase all so you know there are a number of you know different patterns that are included so if you you know it's not like automatically make up a drum pattern but if you go to a midi track you could get into like the midi uh inserts and start playing with beat designer so while it's not randomly generating stuff through artificial intelligence you know there's a lot of you know phenomenal uh presets that are just kind of included with this so you could just you know have access to all sorts of different presets within your you know different tools uh directly here so you say okay let's load presets so you know if you go through every single preset and then you have presets on different Keys which will be kind of musical variations and you could have different banks you could copy reverse to all sorts of stuff so um so it doesn't automatically generate chords but you could have you know if you just enter in information in a chord track you could have the tracks automatically follow that it could suggest chords to you but it's not gonna it's not really designed to you know write a song for me and do all the work and I'll you know get credit for it you know so it's not really designed for that but there's a lot of tools that can get you there very quickly all right just reading through comments thanks for all the wonderful questions and uh just a quick reminder so next Friday I won't be doing the live stream we'll be doing it on Thursday instead so again uh next week we'll do Tuesday and Thursday for the live stream so just a quick reminder to that let's see dries Eternal just says he wants Cubase to be able to generate Melodies and drum beats but then we have to get part of your royalties so just kidding foreign Spike Williams uh hey Greg I've been using a Tempo track to correct fluctuations from a faulty old 8-track uh is there an easy way to correct the fluctuating pitch globally all right so let's take a look so um and this is something you can do easily and I've done this for a number of friends like going crazy trying to restore old you know a quarter inch a-track or eight-track cassette four track cassette stuff that's um so let me just find a quick file here I'll just do a new project okay so let's say if I wanted to kind of change the pitch to kind of make up for kind of uh like analog tape machines which we weren't playing back at the correct speed one of the things that you could do is place it into musical mode okay and as we do this one of the things that we want to do is switch the algorithm here to tape so now what it will do is as I slow the tempo down it slows down the pitch as well as kind of making it so this is kind of like very speed so it's a the tape machine was a little slow you could just kind of come over here and say so if it's like oh it's a little flat then just type in a faster tempo and then it will adjust kind of the very speed uh it'll create kind of a very speed effect to change the tempo so that way it's going to change not only the you know the speed of it but also the the pitch of it to mimic an analog tape machine so usually once you kind of find like you know the actual value you know that value will be pretty constant and you could just simply you know change the pitch and the duration and the speed of it to compensate for deficiencies in the motor of the tape machine so select the file place it into musical mode and place it into tape and then as we work with tape you could at that point um just adjust the tempo up and down and kind of find the spot where it's in tune and often you could just you know maybe just listen to it and have a midi note playing what was like the correct pitch and just kind of tune it and once it's in tune the the speed should fall right in line oh and what other uh things like once you have like kind of the tempo regulated you know just render that file and then once the tempo is kind of sorted at that point you can just simply you know work with the pitch separately if you haven't if you need to separate the two processes if you've already kind of done the tempo Corrections or if you want to do the tempo and Pitch correction at the same time just use the tape mode all right so we have a question um uh so we just see how to edit multiple tracks at the same time on Nintendo 12 example Time Warp two guitar tracks at the same time okay so let's come over here I think I might have a project for this I'm just okay so let's say we have um guitar parts here [Music] all right so I wanted to kind of change the timing on a couple of the guitar parts so what I'm going to do is just select both my guitar parts I'm going to kind of zoom in let's switch to our warping tool and we're going to go to free Warp so I want to as we do this you want to kind of set like different warp points so we there's a couple of different ways of doing this but if we wanted to move one event make sure that you have the event before and after kind of with warp markers and now that both of the events are selected we could just warp both and we could do this across 100 tracks or two tracks and so if you record it like two different microphones you could just do this and as we wanted to snap we if we have snap enabled with the letter j or just by clicking this icon at the top now as we do this we could just snap these particular warp points to fall on the grid as we see necessary so say if I set this to beat as we move it could just kind of Tuck right into the beat as we want it so just kind of Select both the events if you're kind of at a particular zoom level it's like I'm not seeing it you know at a certain point it's just going to be all yellow lines where the warp markers are uh just kind of zoom in a bit more and then you could see it so you could edit multiple times multiple projects or multiple tracks directly on the project window that was new in version 12 which is a great great Edition right heartbreak time machine wants people to smash the like button all right um you can see the Heartbreak time machine says happy cubasing he's going to be off off to edit media afternoon okay so we see Spike Williams is going to give the very speed a try Spike Williams just says so many options in Cubase 12. so yeah it's pretty pretty amazing what it does all right so I think I'm at the end of question so far let me uh sneak over and I will I know we had a number of questions that were sent in I have some of them already kind of prepared in the project I'll open that I'll go to my word document and again if you want to send questions in advance you could send them to uh Club Cubase at steinberg.de all right so okay so we had a question um what is the difference between bypassing and insert versus disabling it okay so if we want to look at our inserts on particular project on a particular track we can see that we have a number of different inserts so we have 16 inserts let's get this project activated and when we bypass inserts that's going to bypass the particular processing on so let's say if I look at all these different plugins and I'll just look at it in my larger mix console so make it kind of Mr Magoo big all right so when we look at this if we want to bypass the inserts now the signal isn't going to be going through the particular insert so as we turn these off the plug-in is not processing the audio but we see that this is kind of faintly enabled in the background here so you see this is a bit gray so this plug-in is still loaded it's still taking processing power and then we could immediately turn it on and without having to do any kind of uh you know delay calculations you know delay compensation for it we could just turn it on and off without having to do worry about that but it's still taking up resources so if we look at our plugins here we can see that in this particular Channel we have a total latency of you know 228 samples per second and we can see this in our latency monitor which is on top of each track and if you don't see that in your in your larger mixer you could just go to the channel latency view right here and it's a really handy perspective to see which how much latency each plug-in is costing so we can see that as I turn off like the multiband compressor is kind of a notorious uh plug-in that the latency doesn't is not affected by that particular plug-in but if I come over so say I turn this on we see that that same amount in latency is being compensated for but if I hold down the ALT key or option key depending on your operating system I can now just click and we see that the latency and if I just click the off button we can see that this has and it could be a little subtle that this has a grayer background and this has a dark background so I could turn that on and off and that's not going to affect the latency but if I hold down the alt or option key that once it could still be bypassed and still be taking the latency and I could turn it on and off really quick but holding down the alt or option key on the power key can just simply disable that plug-in so it's not taking CPU cycles and it's not adding anything to the latency path so holding down the alt or option key will allow you to disable the plugin which is different than bypassing so bypassing it's still adding to the latency it's being compensated for but it's adding to the overall latency for tracking purposes whereas when you alt option on the power button that you actually can see that it will just simply you know come over here and disable the plug-in so that it minimizes latency and it's not taking any CPU Cycles and we had a question uh just a quick follow-up question to uh from Tuesday's live stream uh it says um how did this you know how to find plugins are taking a lot of CPU power on group tracks because while we could disable instrument and we could disable audio tracks you know since there is no data on a group we can't necessarily disable a group track because there's no data on it it's just kind of a pathway if you will so if we open up our so if we want to see which plugins are taxing or kind of really hitting our CPU hard how we could do that is just to go we'll go to our audio performance meter so let me just come over here and as I have this turned on I can say let's go to and I just added a number of really heavy plugins here but as I hold down my ALT or option key and I start to disable plugins so say Okay I want to disable the multiband compressor you know we could now just kind of come over here and turn on so we can say okay this multi-tap delay is causing a lot of CPU so and if I just kind of turn it on if I just come over here and bypass it it doesn't really affect the CPU load but when I come over and hold down the alt or option key to disable that that will change the CPU load so unfortunately there isn't a way to kind of globally do this so you know you have to do it on each one but you could get a sense and after you do this you could easily kind of isolate which plugins are causing heavy CPU usage for your particular system all right let's go to the next question um all right so we had a question last uh last Tuesday of where are the controller Lane presets stored and um I kind of guessed it was the ram presets but and uh I was right but just to show that if you wanted to copy and if you're not familiar with this if we had a um let's say a midi event and we wanted to have uh various controller lanes that were visible so that we could always see a particular controller Lanes so what we could do at this point where these presets are stored is gonna if we needed to transfer that from one system to another would be in the ram presets file so let's on the Mac we would go to just to kind of start this process we would go into the preferences so we go to finder and you have to hold down the trick is to go to the go menu and hold down the option key and you'll see Library and we will choose to go to qubit preferences to Cubase 12. and then we will see the ram presets dot XML we just it might be under presets category so here you'll see the ram presets.xml this is the file where that is stored now if you're on the Windows platform what you could do okay and I'm just going to show you how you can get to that window if you go to like your start menu and go to Cubase 12 you'll see your user settings data folder that will take you directly to uh and then you'll have your presets folder and the ram presets so again it's going to be the ram presets.xml file will be in there so if you copy it from Cubase 11 to Cubase 12 into the same location all of your controller Lane presets will be carried over okay so we had another question about [Music] um how to get samples using Groove agent to be saved into the pool okay so we had some discussion about this so in this case uh what I've done is um so let's say I want to build and let me just come over here so we have a Groove agent track just and let's say I have different snare hits here okay so what I have done with this and I'll just take it out of musical mode so as we play it back here so I what I've done is just you know if I wanted to build uh samples into in a my own custom kit into groov agent what I could do is I'm going to choose just to drag the files into the project window so you can come over here and I'll just call this you know Groove agent samples okay so I will go to my media Bay come over to the file browser and say you know I really want um so I'll just come over okay so we're gonna go to my audio folder here it says say I want these I wanted these samples here and I'm gonna just put them all onto just one single track let's say for now okay so I have one track that has like you know different fine maybe just some more all right so let's say at this point I'm just going to take these these snares over and I'm going to drag them to the project window and once I have them in my project window what I'm going to do is I will go to my pool window and I could organize this as I want so I'm going to right click so we'll go to my audio folder I'm going to right click and let's create a folder and I'm going to call this groov agent samples okay now as I drag files in I have a preference so that the files will immediately be moved to the to the project folder as you're dragged into the project so it's a good idea to go to editing to audio and when you say on import that you copy the files to the project folder so once it's copied to the project folder it's all going to go into the pool so I say okay I have these snare samples so these are my groove agent and I'm just going to drag these into my groove agent folder so so now all of my samples are there and I'm going to just drag it onto Groove agent as my different sounds so we could have this automatically map out to our different samples and we have our different velocity levels so I could drag it across to multiple pads so and if I don't want this track to actually play back just mute the track but now that we've dragged it into the project window first and from the project window into and we're using this location of the file into project window and then we built our drum kit from there at this point when I saved a project or export the project the samples for Groove agent will automatically be associated with the particular project so that's a good way of keeping all of your files managed within one Central project folder for the samples for Groove agent that may be unique to that particular project is copy them into the project folder first and then build the groove agent kit from there and you don't have to have it play back and then that file Association and the samples will always be within the project folder all right so we see question um hi Greg I'm using Halloween Sonic 7 in Cubase 12. I have set up halian with three inputs domain input one and two midi tracks inputs two and three I have loaded three sounds I've assigned to Output um one slash P to main output uh 1p to two so I guess the output's one two and three I have the inspector and halyan assigned to the correct outputs to the correct place I play midi on input two bit e-track 2 shows up in the mixer going out to activate its second Channel everything is expected to clarify I have three separate inputs going to three separate outputs working fine now I want to render and place a midi track um I select the midi track highlight the midi track and render what I actually get then is the three tracks rendered my track has the correct data uh the other two are empty what I can't understand is why all three render hope you can help so if we have a particular scenario where we add an instrument track and let's say we're doing a multi-timbral instrument like Holly and Sonic and so I'll come over here right side of this going to Output one and let's do um Let's do an organ sound on channel two so now we what and we wanted a different sound on channel three so it's a hollyotron [Music] okay so we come and we would go to our mix console all right so we have our howling in Sonic and I want to do my routing so I'm go to the mixer and say this is going to remain out I'll put two output 3 and I'm going to add let's say midi channels with this so we're going to add two midi tracks so we can say this is our synth and this will be organ and this will be our melotron all right so if I had data recorded on the melotron so let's say all right now while we can have the midi track here going to let's say our synth output and we'll set our output accordingly here you know while that's kind of allows you to adjust the effects you know the midi data itself doesn't have a particular you know the midi track itself has no idea where the actual output is going to so Cubase has no idea where this midi this midi could be going to an external instrument it could be going to a lighting system it could be going to another element so if I come and do the rendering while we can route it the midi data the midi track itself doesn't and there's no way for Cubase to know what audio output that is being sent to so if we do a render in place and just realize that when we come here I'll go to my render settings and we'll just go ahead render away that we will get empty channels for the other tracks because you may have an instrument that is going between different outputs if it's set up for surround sound you may have so Cubase will render all of the outputs so that it can make sure to include all the sounds because it doesn't know what the midi information the midi track itself even though we could route it doesn't have any idea exactly where it's going now if we did this with a uh an instrument track so I'm going to take this and since we take it to the synthesizer now we know this will correlate the audio channel to the instrument so when we go to render in place from here we'll just go to edit to render in place and as we do this what we're going to do with current settings you know because we have the multiple outputs so but if you do everything from like one single instrument realize that you know you could just come over and you know because if you're doing multi-tembral multiple outputs and you have midi tracks going to the same instrument that's why you get the empty tracks rendered so if we just had one instrument as you know inside of howling in Sonic 7 it would just render as normal so just can't all be kind of as functional you know dealing with Legacy midi tracks for virtual instruments so all right so we see um quick question I'm having a difficult time to eliminate noise from the audio extracted from spectral layers uh can you please help how I can eliminate or reduce as much as possible The Unwanted noise okay so let's get and open up quick project to look at this right and they get kind of asked a question about this let's come over here I'm going to revert okay so let's say we have so I'm going to open up spectral layers here so we'll open this up um all right so it seemed like it was like when we look at this that we could have like maybe foreign so when we did like maybe an unmixing [Music] all right so when we come over here you know one of the things like as you're doing the actual exporting you know because there are like different tweaks to the algorithms you know so there there's always going to be when we're kind of I often make the analogy of like when we're you know pulling the eggs out of the cake you know we may not be able to get uh that you know it back this shell that's been broken to be perfectly so uh perfectly aligned so but when we go to the unmixed stems you know there are some different functions so you could kind of tweak the sensitivity and you know I would play around with this particular sensitivity and see like as you do that what changes it'll make but you know there's always going to be some like processing artifacts when you're doing like really Advanced kind of you know like spooky scientific artificial intelligence stuff that you run into within spectral layers but try to play around with the different sensitivity settings and I think you could eliminate a lot of the noise from the processing foreign so our next question is uh hello Greg I hope you are well uh using window 12 now but I remember this issue for my Cubase days 10.5 and earlier uh why when I use Auto punch in I can hear briefly the start of the previous take even when it is after the punch in point in many cases it is uh kind of confusing for the musician or singer I tried to replace the punching point an eighth earlier but then I'm losing the previous word uh to replicate this try to record audio from a drum Loop and then try to punch in on beat one of the second bar you'll see that the sound doesn't stop there you'll hear the first kick and maybe more or if you record a voice counting and you try to punch in on five for example you hear the five um and then it's kind of seems like it's cut off how it's written um is from Demetrius so let's go ahead and I had set up kind of a project here so punching so I have a source track that's playing and this source track is feeding into group and the group is the audio input for this particular Channel all right so I'm going to put this into a loop and I'm going to set just a punch in point so we listen to this you know we can hear that you know the kick and snare pretty much you know you know right on the beat so we'll just move this over so you can see it visually here all right so I'm going to set a punching Point here and we'll see if it and let me just turn on my snap so we can snap the range selection here okay so I'm gonna just hit I and O for my punching point so we're still so we have the same material underneath this is our source track being fed into the group the group is the input for this particular Channel and let's go ahead and just all right I'm going to take it off cycle here sorry about that great and I'm just going to turn off uh under transport punch points all right so we're just gonna have it again play through the group into this channel and we'll have it punch in and out okay let me just set my punch points here it's a bunch in punch out all right so let's go ahead and we'll just listen to it and see if we hear any artifacts so once again just to make sure so I'm just I don't hear any issues with the punch but we'll just do it again and I'm sorry I'll just activate the punching again so hit I and O foreign punch out and I will Loop this section so we have the punch overlapping and we'll Loop it and see if we hear sorry let me just not have it punch in all right so we have our Loop section here and I'm just going to turn off and we'll punch in and out so it seems like it's punching as expected to me but let me know if I'm doing it somehow differently than you but I've always had my punches be you know pretty accurate overall so but let me know if Demetrius if I have done approached it differently than you all right so I had a question um is there a way to organize presets in Cubase with folders I've always found that preset's a bit confusing on the right side but don't want to use track archives and have to scroll through heaps of tracks in there um so you know when we go to the presets everything's you know so I'm not sure if it's user presets so but you know if we go to you know everything is kind of placed into particular order so let's say if I come and I will I have processing on this particular track all right so I'm going to right click and we'll save a track preset for instance and we'll call June 9th all right and let's open up um or synth here all right so I have this and I want to save a preset all right so we'll call it June 9th and it's going to be a multi preset you know so it could be you know so everything is kind of automatically placed for you to look so you know if you're doing presets you could come over here and say okay I'm looking for track presets I want it to be audio and now we could search for audio track presets or VST instrument presets and if I want to do this for user presets I can say okay let's go to from here instead of going into loops and samples I'll go to user presets and we can say okay I want to go to track presets audio and then we see excuse me then we can say June 9th so if I just drag that out we'll have the same exact settings so I want to go back to my instruments and at this point I want this to be a multi and at this point we'll just come over here and we could just see all of our different presets just laid out for us I don't so you know make sure that you know I know sometimes people go into okay they go to presets here and they don't necessarily so let's say you know they go into presets looking for their user presets but if you come over here and say okay I want to go into VST instrument presets I can see okay here's our June 9th keys I could just drag it right out so make sure that you're just kind of navigating back and forth between the you know presets and user presets um and then I think once you understand that that you know it'll make sense you don't need to necessarily organize it into folders that it's already kind of being placed there so and let's say if we go to VST Instruments and you know you could you know again just kind of come over here and see all of your different presets are kind of organized like that okay another question um is there a way to have instrument tracks inactive until midi data is placed on the track so there's a preference for this if it's a vst3 plug-in which most are but maybe not every plug-in is vst3 actually does this correctly and it's up to the plug-in manufacturer but if you go to preferences to plugins you'll see this little option that says um suspend vst3 plug-in processing when no audio signal is received so at that point if the instrument isn't generating a sound with that preference checked it was not going to take processing power until it's actually playing the sound so if you find it that doesn't work with your a particular instrument then you could con and it's a vst3 instrument you should contact the instrument manufacturer but that's kind of the design one of the big design intentions of vst3 okay so we see a question uh I run Cubase with a slate Raven and would love if I could drag the Cubase mixer left and right by touch is this possible to change settings to enable so I know that there are a number of different controllers that do that currently I know like the Yamaha nuage did it there's some other control surfaces I've seen do that when at times you know I think that the Slate Raven if I'm not mistaken may still be using Mackie protocol so I'm not sure if it is capable of just kind of swiping by touch because it's using a protocol that was designed for a system that you know wasn't touch screen at all that didn't have like a ribbon controller so it is possible in Cubase but I'm not sure if because it's running as a Mackie control if that limits the functionality of that doing it but other controllers do it but I don't have a slate Raven to test so but you could contact them and how they've implemented the control functionality so okay so we see this question uh my midi Channel inputs are always changing when I slightly alter my project is there a way to do this or is there a way to fix this or will be fixed in Cubase 13 um so I'm not sure when you say Channel inputs if it is the midi Channel itself or if it's the midi input port um but you know on I I have kind of a large midi setup you know external and VST Instruments but I haven't had any of the inputs changing um you know sometimes when I've seen something like that occur is if if a midi device maybe isn't being recognized or a project was saved without a midi device turned on and then the midi device is enabled and then you know or it was turned on Saved saved with it turned off and then you it's on on let's say the third time you're working with the project that that may have an issue with it but check to make sure and if you could let me know if it's the midi Channel or the midi input or the midi input Port that would be helpful all right so we have a question um is nuendo more stable than Cubase so it's really built on the same code uh I think where people may have that perception is generally people that are running nuendo may have a more advanced more advanced systems more Advanced Computers they may be a little you know more Discerning on uh integrating third-party components that could cause system instability they may not have plug-ins that are you know 20 years old trying to use them in 2023 for a plug-in that was done in 2001 it's 32-bit but it's it's basically the same code base so you know so I think that they would both perform equally well on the same system all right so we have a question from Sebastian um I use Cubase for performing live how to display the remaining time of a selected event during project playback is there any plugins to do this so I haven't really come across anything that would really kind of show the remaining time I kind of looked through a number of plugins and I couldn't really come up with one that would be like a countdown timer um one of the things I was thinking of that you know as a visual reference is if we come over let's say if we have like this note that lasts you know it's not a countdown timer and if we have something like this is playing it's going to put this to C1 you know something just kind of popped in my head as almost like a visual countdown is we'll just put it in Groove agent SC into a pattern pad and then let's say we want this is G sharp one I'm going to change this pitch okay so I'm gonna put that pitch in that there is kind of like a little countdown clock and I know that this is small but if we had like a Groove agent pattern let's say while it's playing let me just uh route this to groove agent now so we could have this pattern so I don't think it's but I I couldn't think of anything that was like a countdown timer for Live use but I think like as we play let me just check here on Groove agent like as we would play so say like while this pattern is playing that you could have like a little clock that goes around but nothing I know of that was like you know you have seven seconds left six five four three um you know there's some things innuendo for you know like where you could do kind of for ADR work we get a three two one but not like I think Beyond like five seconds or so all right let me go back to our live questions thanks for mailing the questions in again you can send them to Club Cubase at steinberg.de all right let me just scroll back and find my place where I left off thank you for all the wonderful questions all right so we have Martin Downey checking in from New Zealand it says learning Lots today thanks my wife went to vacation in New Zealand and says her favorite place in the world so all right wonderful c-capped energy music from Harrisburg Pennsylvania area we have Lawrence Koch checking in from Rhode Island great to see you on all right so we see uh hi Greg um can you make and save your own drum pattern for a drum kit yeah so there's a couple different ways of doing it so let's say I have um so say I have this pattern here for Groove agent just get rid of this all right so it's a so and um so let me just adjust this over here it a little better okay so this is like let's say a pattern so one of the things that's you could do is if it's going to an instrument track is you could export it as a midi Loop and the midi Loop will automatically load up the instrument with the particular uh preset loaded so let's open up our midi Loop and we'll call this Gerald okay so we'll hit okay okay so I'm gonna go over to my media and let's go to loops or we'll just say let's go to user presets I think let's see if we can find where the the midi Loops are all right let me just look for under loops and samples so you know generally we could save it right like there so let me just look wait not there all right I'm just going to see if I can find a location quickly in like a full media Bay so let's come over here to Okay so so here we can see our midi Loop so if I drag this let's say to a new project we can now just have this playback for us so we'll sell her that and let me see if I can find the location here quickly someone was detected at your front door okay all right so it's going to be in the midi Loops here so let me just so you could just access it right there and let me just search here okay so if you just go to [Music] um Loops so so we'll just come over here and go to loops I'll go home so we'll go to loops and samples then you could just say Gerald Ely and now I could just drag that over so once I drag it again it's going to load up the instrument for you with all the sounds and you could just have that particular Loop playback with the assigned instrument so let me know if that's helpful for you all right so fantastic to see Graham Witcher from Royal Wooten basset he says it's warm and you need some of some ice cream from Michael teams and we see uno memento has already granted him a beer and Michael teams is right there with ice cream Texas blueberry ice cream good choice and I saw that uh Michael teams I think gave us key lime pie from my family and myself thank you it's always appreciated all right so we see a question from uh Estevan Carlos Benson uh when writing notes with expression map articulations and they'd show a lot of text on them such as uh G zero pits Pizzicato is there a way to control that text all right let's take a look uh let me just find a particular project here right there Okay so [Music] [Music] all right something just solo just uh foreign [Music] come here let's get to importer key switches okay so let me see if you have uh let's see if the expressions are set on the you may have the expression map set is attributes so let me just foreign ute all right let me just get it to the right expression map here sorry about that okay okay so let's say I want to do this and let's switch to okay so I think this is what you're kind of talking about where you see the attribute label okay so let's take a look in the expression map setup okay so it's when it's for an attribute and let me just see foreign just for now let me just see if there's any preferences here I think it's going to be in here somewhere foreign just see sorry about this foreign so if you come over here you'll see this current you'll see the text setting so let's say if we do this you'll see detect setting you could just delete that and that will get rid of it I'll play around with it if you want to send me an email to uh Club Cubase at steinberg.de so let's say if I just select let's say I have different let's see if I could do it for if I select all the nodes and just go to text I'll get rid of one at a time but if you want to send me an email to uh Club Cubase at steinberg.de I could have an answer for Tuesday but you could select it here and if it's probably if you have it set to a lower height you could do that but you could just go to the text field and just go to none but I'll see if I can figure that out for you sorry about that all right get my computer woken up let's try to all right just my Chatfield jumped okay all right uh so we see a question from David M um hi Greg can you explain why you would use DOI shaping active and auto blanking when using the Steinberg uh live uh dither plugin so with the Lin one dither um you know basically what it's doing is adding noise you know technically that's what it's doing so depending on the material you may want to actually as you're working with it you know if you notice you know you could experiment with the different um you know with the different noise shapes to see exactly like you know um so at this point you know there will be you know like two different profiles for doing that so I'm not sure on the auto blanking off the top of my head but I know it's kind of standard dithering algorithm but you could always just kind of turn it on and listen to it and see which dithering is working better for your particular material okay wonderful to see Nick he wants people whack the like button oh all right so we see you've got yours just his suggestions of the question about the countdown a simple solution might be to draw empty Parts in the screen leading up to your desired time and just label them four three two one or whatever seconds is left take some pre-thought that's a good suggestion um so especially if we set our time here to be uh we'll set our time in seconds and let's say we know that our song is going to end at a particular time we could set up a marker track or even an arranger track so it could Ranger track will be larger so let's say if we have an arranger track and let's just put it in we'll have it snap so we'll hold down Alt and double click it's not the largest name for the event but you could just put in different events that's a good workaround suggestion and say okay as we do this um and say five and then you could have these color coded so if we wanted to now just kind of take this and so you could do something kind of color wise like this so you know when you see like this particular color pattern that it's going to be a particular a moment in time so and then if we're still in bars and beats you could get a sense of when that color is coming it's a good suggestion got your all right wonderful to see Sable Winters on live stream all right Michael teams went to see Nick's Hall Pass make sure he's not tardy great seasable on all right so we see Gerald Ely says uh thanks Greg is it possible to use patterns from one kit on a different kit in Groove agent five so yeah so show you how to use that all right so let's say we'll play this pattern here so if we just kind of click on the folder here we could go to styles and say okay I have this drum kit open but I want to go to blues rock and now I can say an audition different patterns okay maybe I want it to be more funk but I want to use these particular some you may not be fitting for different but you could definitely just try out so once you click on a folder at this point you could just click on Styles and just try and just experiment just like that all right glad to see Michael Pierce made it back all right reading through comments all right green through comments here sorry I mean that it jump in my timeline right still reading through thanks for all the great comments and questions for everyone are you sorry that Peter uh wasn't able to join the last Zoom Meetup with Ted Pearlman yeah we missed having you there but I think usually you could kind of watch the replay pretty quickly and I usually kind of posted at the very beginning just for the future in the comments field all right wonderful to have Danny Lewis on everyone could Google him famous musician all right so I think I'm done through all the questions we'll see if there's any more questions that kind of sneak in um but and once again uh thank you all for wonderful questions uh if you've have uh questions you could I'll check out some of the comments that there are some of the questions that need a little follow-up for Tuesday's meeting um and if you want to email me especially Stefan I'll see if I could figure out how to hide the text on the notes but if you want to send questions in advance you can send it to Club Cubase at steinberg.de um we want to thank everyone for all the great questions hope everyone learned a new tip or trick or anything it just maybe you saw um so we see from Mike Reagan uh hi Greg just for hours qbase 12 is not supported on Catalina which I've been using see any problem with just upgrading the OS or is it more just a fresh install situation it could really depend on your particular machine you know so sometimes Apple likes to make sure that you know particular model you can't update the operating system so that they probably want you to buy a new computer uh so but as long as it's fine you should be okay you know we usually try to be you know compatible like a version back or so as much as possible um but you know sometimes depending like what generation your machine is could have like more of an impact but and usually if we you know if we say this is the system requirements it just often means that we haven't done testing on the previous operating systems so all right we'll see we have another minute left or so if not we will wrap up just a minute or two early and want to thank everyone for such a wonderful um yeah so you know I think I want to thank everyone for just such a wonderful live stream and again next week will be Tuesday and Thursday because a lot of next Friday would be my son's last day of school so they have kind of like a big Afters school party at the park and I wanted I'll want to have that experience with him while he'll let me so with that we will go ahead and wrap up uh everyone stay safe and healthy thank you for spending part of your morning afternoon or evening uh with us on the live stream it means a lot and I hope that people are learning how to use their Cubase better and we'll see everyone back on Tuesday thank you so much foreign

Channel: Cubase

Views: 26,673

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: af4JZf5OJdQ

Length: 238min 45sec (14325 seconds)

Published: Sat Jun 10 2023