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Re: sharing user sounds thread !

Sounds good.

Also could be useful for finding existing sounds.
I'm looking for a sparkly fairy dust kind of sound, like chiming little bells in the wind. I'm sure there are options in the media bay, but don't know where to start.

Surely could be a user sound section for these purposes.

Check the factory content, and filter to the layer presets. There are a few of these there, as I love those kinds of sounds too.
by Cantankerous
Mon Nov 18, 2013 8:13 pm
 
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Re: A macro for playback

You can use the the INS, SUPR and INTRO keys of the numeric keypad instead, they have many more options than the space bar alone.
by dorremifasol
Fri Nov 22, 2013 11:58 am
 
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Cubase 7.5 / 8 - 'Unlimited' Inserts

With the introduction of the mix console, its scaleability and the perceived change in its architecture .

do you think...

we will EVER see the introduction on a possible higher insert count that can take advantage of faster CPU's ?


:?:
by Majic
Wed Dec 11, 2013 11:48 am
 
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Loopmash FX

I was very curious about Loopmash FX. If I read correctly here on the forum some people thought it only worked on audio(tracks) But that's not the case... it also works on midi/vst/group channels etc.

Automating the several effects is also very convenient.
Just add an automation track below your audio/instrument/group channel and you can draw a line to trigger the right effect in a group. You can choose Effect group 1 (tapestop/vinyl) Group 2 (stutter) etc... Then determine the height of the line to trigger the desired effect with all the way down set to bypass...

I'm very happy with loopmash. I don't like assigning extra midi to trigger effects like it works with Effectrix. I myself use stutter and tapestop a lot so perhaps Loopmash is a better vst for me. Still testing a bit so not sure about it ;)

Just wanted to let you know because I read a lot about it...
by djpatb
Fri Dec 06, 2013 4:02 pm
 
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Re: Groove Agent SE4 is great!



I think GA and Battery are very different tools. GA is useful for drag and drop from within the project area. However, it doesn't allow you to cycle through a folder of samples for an individual pad, which is what makes Battery great and super fast to use.

I think I'll end up using both.

It's possible to step through a folder of samples in Media Bay - and quickly assign the sample/s to SE4
Or - you can use Replace Sample to Step through a Folder in SE4, See Below


1. Is it now possible to assign samples via a dropdown list (like in Padshop), or do you still have to drag'n'drop them from media bay?

2. Is sample layering possible? I mean stack layers, not only velocity-layers like in GA ONE.

3. Can each pad have its own insert effects, or are there only aux send buses?

4. Can GASE4 import GA ONE kits?
Re:1
In: EDIT: Main
Right Click On A Sample
Choose Replace Sample
This will bring up a folder - Prelisten Samples is checked by default and you can step through a list of the samples in a folder - and replace instantly

Re: 2
In EDIT: Main
Under the samples - there's a drop down menu: Mode (Velocity, Layer, Round Robin, Random, Random Exclusive)
This will stack layers

Re: 3
AFAIK
Each pad/s can go to up to 16 separate outputs
Otherwise:
There are 4 AUX Buses
Add FX here
And the Bus amount in EDIT: Amp
Under the sample are the AUX Buses

Re: 4
GA1 kits load into GA SE4

GA SE4 is a great update and a great drum / perc sample player.
I used to use Battery 3 a while back - but didn't upgrade to Battery 4 due to Undo (Ctrl Z) reported to be not working.
Undo and Redo work in SE4
Also - I think Media Bay is the Dogs Nutz for finding samples and worked great with GA1
However - this latest update is much more useful.
by Dave Wise
Thu Dec 05, 2013 12:04 pm
 
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Re: Perceived Loudness and Mixdown Levels.

very useful post that is, mate. cheers. when you say you like to make you mixes on the warmer side, what kind of PL are you looking at for your bounce before you send it to be mastered?

Thanks, glad to chat about this. It's my favorite engineering topic right now.

The K-Metering system has a small margin of wiggle room in it (not much). One can just tickle into the "yellow," for the RMS part, or could push it hotter well into yellow and pumping ever so slightly into the "red" zone (only during the loudest parts). I tend to do the latter.

Yes, my bounce / mixdown is K-14.

I do my own mastering, been studying it as a somewhat serious hobby for over 20 years now, and have a second, dedicated computer as a real-time master chain that i can mix into at the touch of a button.

It has several stages, each doing a small bit, until it levels up to the target "DR" number (Dynamic Range). I usually target around DR8 to DR6 for my final.

I've been studying a lot of Beatport releases, to see where they fall. I'm seeing a trend in the last year of somewhat of a Loudness War de-escalation. Some artists that were doing tracks as loud as DR4 in 2012, have pulled back to DR6. I think the faster tempo music trend (134 BPM and higher) is helping. Faster tempos can mean less sustain on a kick. Less sustain on a kick can yield a high DR number (more dynamic range). The "Trance-ification" of Electro and Progressive House, for example (or, the other way around. A.k.a. "Trouse"), is bringing those DR numbers up a bit. I think more artists are getting educated about it, as well.

So, K-14 is way, way more DR that one needs for these genres. K-12 might be better, but K-14 works well because it's more friendly to input modeled plugins, at its natural signal strength, without having to gain it down.

If you did K-12, you'd probably want to drop the gain a few db before hitting modeled plugins (unless you wanted the effect). Also, some mastering engineers might find K-12 a bit too hot for their liking. So unless you're doing it yourself, K-14 would be more compatible with most ME's workflow and signal chains.

I experimented with K-20 and also "18" on Dorrough meters and finally landed on K-14. There's a certain quality to it that just lends itself well to electronic music.

I think part of the reason is that it's a really hot "18" and -18db signal level is what most of these plugins model on the inputs. So, it just hot enough to tickle the circuit-modeled saturation on the plugins, but not too much.

Also, K-14's peak control tends to play nice with buss compression. It triggers it enough to get some desirable pumping, but is controlled enough to keep it consistent and polished sounding.

K-metering also speaks about the overall tonal balance and in some ways is a very good guide to how the track is equalized. In fact, a tilt EQ in one direction or another can often be what's needed to hit the desired target dynamics.

In other words, it's hard to screw up a K-14 mix, tonally, cuz when you do, it jumps out of the K-14 spec toward K-12 (or in the other direction of K-20).

Get some good meters and study your favorite artists and mixes. Then a/b with your mix, with a rough "mastered level" dialed in, and compare against the same meters -- use your ears and your eyes. Then, when you remove those limiters and it returns to K-14, you'll know what the mix should sound like at K-14 and will have more confidence that it can, in fact, get to the DR8 to DR6 territory. Don't expect to do this with one plugin or one stage. A few stages, each doing as few db as possible, is what will get you there (and what the ME will be doing).
by Jalcide
Thu Jan 16, 2014 7:38 am
 
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Re: Feature Request: Test Generator as a VSTi instrument

I'm not sure if I should laugh that RETROLOGUE spits out a perfect oscillator.
Anyways, have you tested other waveforms or noise?
Retrologue spits out a sine wave equal indistinguishable from the sine wave generated by Steinberg's Test Generator. The OP specifically mentioned that he wanted to play back sine waves...so that what I looked at. As a "it comes in the tin, no money spent" solution, Retrologue is a more than reasonable solution.

But if you want to know how Retrologue's other waveforms perform...

Triangle: Retrologue matches the Test Generator. A slight bit of lag at the leading and trailing edges.
Saw: Retrologue show moderate harmonic ripple at the leading and trailing edges. The Test Generator's saw has pronounced harmonic ripple throughout the waveform. This was actually pretty crappy as far as sawtooth waveforms go. Particularly out of a "test" generator.
Square: Retrologue show minimal rise/fall time lag with moderate harmonic ripple at the leading and trailing edges. The Test Generator's square wave is quite reasonable. Minimal rise/fall time lag with no discernible harmonic ripple at the leading or trailing edges.

If you don't have an outboard oscilloscope, you can use Steinberg's MultiScope to get a reasonable idea of what's going on for yourself.
by Weasel
Sat Jan 25, 2014 9:24 am
 
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Re: Sound of Original Samples

number of grains = 1
duration =max (1000)
When grains with a Duration setting above 10 are used, the sound gets the pitch of the sample.
position is= max to left
speed=100%
no spreads or randoms
this should get you near to the original, but granular is not a sample player as you stated above
by roel
Wed Jan 22, 2014 2:22 pm
 
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Re: cubase 7.5 upgrade

7.5 does NOT replace 7. They can both be on a computer at the same time and are installed in separate folders. So you can choose which version you wish to use and when.
by playz123
Thu Feb 13, 2014 3:36 pm
 
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Re: Where do you click to focus the MixConsole?

there are a lot of great features in the new console, enough for me to deal with the gymnastics involved.
I'm probably gaining more in terms of desk efficiency than I'm losing by the navigation.
No arguments, it's down to personal workflow.
Fwiw, I do see some positive aspects in C7/C7.5.
And I spent way too many hours in my test install of 7.0, trying to make it work, I really wanted to.
After checking 7.07 I gave up, it's supposed to be the best Steinberg can do atm.
Or they would certainly not call it the final update, right ?

Let's take a quick look at 3 of the biggest complaints, there is a boatload of other stuff too.
-- Broken KC / GR focus - nobody ever came up with any positive reasoning for this extreme workflow killer, nobody, not even Steinberg, so I guess it's safe to call it a huge bug. Why has it not been fixed 1 1/2 years later, not even in 7.5 ?
-- Completely incomplete implementation of those "mixer view presets" with the complicated name, good idea on paper, first thing I tested in 7.0.0. Still not ready for use, 1 1/2 years later - not properly integrated with workspaces, buggy on project reload, not including all visual aspects of the mixer, and worst of all, not even a way of making them system-wide or even only transfer them between projects - I guess it's impossible to describe a sensible workflow using this placebo.
At the same time workspaces have not been upgraded to include all the new good or bad mixer features.
Bottom line - it's no-man's land, there is no reliable method of recalling a visual mixer state in 7.x anymore, 1 1/2 years later.
Epic fail.
-- Last for now, the plethora of mixer zoom issues, again, not tolerable for any serious work - though, admittedly, the Channel Kermit View has quickly become a running gag among clients - too bad it always happens in exactly the wrong moment, so for client work it was quickly back to 6.5, these things are not acceptable.
Kermit's still alive and well today, 1 1/2 years later. Clients don't see him anymore though.

This list could go on over pages, and we're not even talking controversial design decisions here, we're talking workflow-killing bugs, plain and simple. 1 1/2 years later. No improvements in sight, nothing, not even for 7.5.

ymmv as far as these things concern you personally, they are reality however, not caused by user error or system specs.
1 1/2 years later.
Rhino
by Rhino
Thu Feb 20, 2014 1:35 am
 
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Re: Layer vs Zone

I'll give it a go....


A zone is what holds the core sound (synth or sample). I might have one zone for a snare, or 88 zones for a piano roll.

Yes.
A layer (this is where I get confused) holds zones. I can use a layer to house similar zones, ex. I have kick, snare, HH - 3 zones all on one layer.
Yep.
Or I can use layers to stack zones as velocity layers .
This too.
OR should I consider each set a layer. Kick is layer 1, Snare layer 2, so on.
Could do, yes.

Whenever you need to be able to select, effect, or operate on a set of zones independently, then Layers are what you use to 'group' the zones together in order to do that, e.g. :-

Organising -> quickly selecting sets of zones
Editing -> adjusting the parameters of several zones together
Effecting > add effects to groups of zones
Playing -> use modifiers to control which zones play.

Etc etc.

What exactly a layer contains is up to you, and will depend on what you want to do to, or how you want to treat those zones, how & where you use layers is not fixed in any way.

HTH.
by fstaudio
Fri Feb 28, 2014 11:25 pm
 
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Re: Cubase 7.5 and HALion Sonic SE Content Downloads - SOLUT

OK, Ill ask it. If Ive downloaded the 7.5 Update and the HS stuff and it installs just fine, Do I have to download and install the ISO's as well since it seems theres a HUGE size difference?

Why are the updates with Cubase such a convoluted mess every time????? :?
by shanabit
Sun Dec 08, 2013 1:58 am
 
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Re: Can I set each kit piece to different channels?

This feature is only available in the full version of Halion Sonic. In the amplifier subpage of the edit page on every drum layer you can define a different output for each note. Together with lots of other functions these are not available in the free halion sonic SE that comes standard with cubase.

It makes sense to try out the 30 day demo of the full halion sonic to see if the vast amount of functionality's suits your needs, but i admit this could have been a very nice feature if it was opened for the SE version too.
The full Halion Sonic is quite a beast though but there are others in that segment of the market too.

If it's about multichanneling drums i would indeed rather point towards the new groove agent 2 that is specifically made for drums and actually has plenty of very decent kits and far more functionality than you will find in the halion sonic which is an overall workstation. Also the content available to GA2 is only limited to your imagination since the database is open for importing own samples.

kind regards,
R.
by roel
Fri Mar 14, 2014 2:08 pm
 
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Re: assign flex phrases to trigger pads to create key switch

have found the solution. just for the record.

i have to use the snapshot variation (rightclicking) on each trigger pad to let the keyswitches function so that each triggerpad contains a different plex phrase. thus select a triggerpad, select a variation, take the snapshot
if i do this for each triggerpad (and each variation has a different plexphrase) i got the result.

the question remains though if someone knows how to assign different plexphrases to midi-notes so i can use them as keyswitches without the workaround of the triggerbuttons... that would be even better
by roel
Wed Mar 19, 2014 5:25 pm
 
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Re: assign flex phrases to trigger pads to create key switch

right click on the trigger button and choose snapshots variation
then you take a snapshot of the variation that is currently being used in the flex phraser

it is AWESOME to have different plex phrases on one keyboard layout and when you edit these phlexphrases yourself the possibilities are endless
but i do not find a way to assign the different phrases directly to the keyboard... that would even be greater
have not found a single preset that is using this... pffft..., but i`m still on the process of going trough things :-)

kind regards,
R.
by roel
Wed Mar 19, 2014 7:30 pm
 
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Re: why so many new versions so fast

mpayne0 wrote:Keep it as simple as you need to keep your customer satisfied.


What if the customer is the same person using the DAW?

mpayne0 wrote:If that's a lifelong mission, you're doing something wrong, or perhaps in the wrong field.


For me it is certainly that, and I could not work without Steinberg Innovations.
by sycophant
Thu Mar 20, 2014 5:22 pm
 
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Re: why so many new versions so fast

Am I the only one that finds this just a tad bit comical? You don't exactly have to be the Rockefellers to afford an upgrade that might cost $100-$200 every year and a half or so...... I mean, is money really THAT tight? Skip a couple dinners out or a few dates at the movies these days and bam, you can afford the upgrade. It really just seems like such a trivial bone to pick for what are in some cases huge innovations in workflow and changes that make our life as users easier. And again.... if it's REALLY breaking your bank..... no one is forcing you, just don't upgrade. There is nothing stopping you from staying on the same platform you are currently on.... Is this seriously a major concern?
by bjones306
Fri Mar 28, 2014 11:54 am
 
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Re: Non latch keyswitch

Perhaps i'm not understanding what you need correctly, but toggling the Keyswitch Mode to Temporary will get you a non-latching KSW, that's what it's there for. See attached gif (converting a factory preset with key-switches to Temporary mode).
by fstaudio
Thu Apr 03, 2014 9:01 pm
 
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Re: How to insert one of the new synths into a program?

a quick search in the mediabay will learn you that for every engine in halion there is an init preset provided.
in the middle of the mediabay there is a small grey (or blue) field. this is the search field.
type in init and there you go.

kind regards,
R.
by roel
Fri Apr 04, 2014 12:10 am
 
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Re: Tutorials for Halion 5 ?

Those G3 videos are good but a bit limited. They are done by the guy Mark Struthers, he is very long winded, and belabours small points. He actually went so far to talk about synth osc and reverb settings in the Halion videos.

I have to agree with you on that. He tends to take the long way to get anywhere. When demonstrating something he'd often select several items to use as an example when one would work just fine and be quicker. Still watching 2 hours of video made the manual much more useful.

The problem with the manual is that it doesn't provide any overview to create context. It pretty much heads straight into every detail from the first page. This is great for reference, but not so good for establishing an initial understanding of what's going on - what is crucial to understand and what isn't. Compare the Halion manual with the Scores portion of the Cubase manual - another complex and not always intuitive topic. The Scores documentation starts off with a good overview that supplies context for all the details that come in later chapters. Having that context makes it easier to read the remaining manual and focus on what is important to you now and skip over (for the time being anyway) what isn't. The way the Halion manual is structured you can't really do that - you just get thrown into the deep end of the pool and hope you can teach yourself how to swim before drowning. Documentation that must be read slowly and carefully is not well constructed (I say this as someone who in a previous life hired tech writers to produce documentation).

The BFD3 videos are done by a guy named Eli Krantzberg who does a lot of the Groove 3 videos. He is much better than Mark - quick pacing, clear explinations and through. Looking forward to some of the other topics he's covered.
by raino
Fri Apr 04, 2014 12:10 am
 
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Re: Steinberg / Arturia V-Collection

The NSK is absolutely BRILLIANT !! One of the best plug-in's I ever bought without doubt. Sounds amazing and that's just after 10 x mins of messing around on it :mrgreen:

Yes I have a Suitcase and Stage Rhodes also.
by monsterjazzlicks
Thu Apr 03, 2014 2:46 pm
 
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Re: anyway to take effects off individual clips?

I have an individual clip (not a whole track) that I applied some compression to, and processed it. Is there anyway to remove that and have the clip go back to how it was originally recorded? I have already saved and closed the project.


Yes there is! It is called "offline process history" (C6 ops manual p254)
This keeps a track of all the processing applied to the clip (from within Cubase) and allows you to remove any of the steps or go back and change parameters of any of the steps. It's very powerful, but not many people seem to know about it.

Right click on the clip and select "Audio -> Offline Process History" (why they didn't put this on the "process" menu where folks can see it better is a mystery)
by OldFecker
Fri Apr 18, 2014 11:33 am
 
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