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KeyCommand Utility - Now Testing Mac Support

UPDATE: 11/13/2013: New version with an updated css that uses smaller fonts. Added a "." to the empty cells.

There is now a bit of script that lets you more easily choose MAC or PC

#change these two values to identify MAC or PC
my @mods = @PCmods; #set to @MACmods or @PCmods case senstive
my @abrs = @PCabr; #set to @MACabr or @PCabr case senstive

Find this section and set the value after the = sign.

Typical disclaimer - this program isn't designed to do anything useful. If you accidently get it to do something you find agreeable, then that's a bonus. Should running it on your computer ruin your parents credit rating or modify the future beyond your ability to live in it (FZ reference FTW), that's on you.

perl script linked at the bottom of this post
Put the two files from the zip at the bottom of this post, in the directory that has your Key Commands.xml file in it.

Run the script
It will create a KeyCommands.html file
Open KeyCommands.html in your browser of choice.
Bask in the glory of my L33T Perl skillz...

There is a css file with a "background-color: xxxx" value for each command class of command. You can use internet colors or hex color values. Google css background-color for explanation of choices.

NOTE: There are some odd keyboard choices like '-' and '+' that are not treated normally. For example + should really be 'SHIFT+='. But because the + is treated as it's own symbol, there is a + row that can only ever have 1 command mapped to it. And you can never have a 'SHIFT+='. Hope that makes sense.

NOTE 2: If you hover your mouse over a command, it will show you the complete name as it is in the Cubase key command list like below;
http://i782.photobucket.com/albums/yy105/jmcecil_photos/commands_zps76131e91.png

Here is the original thread
Key Command Utility
by JMCecil
Sun Dec 30, 2012 3:41 am
 
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Re: Steinberg's dongle alternative coming



1. The ability to have the eLicenser on a local network, so that other local computers could be used, without moving the dongle around. This should not be compromising, since I believe that *most* users only own one license per product anyways. And the ones that can afford it, would probably buy additional licenses anyhow, since that would keep their progress from being interrupted in case of network problems.


There might be an external solution available for this task:
http://www.seh-technology.com/products/usb-device-servers/myutn-50a.html

We have had a test run here at work and it worked very well. The USB-eLicenser is available on the network and you can "take it" to be able to work on your system. It is not possible to use the same USB-eLicenser simultaneously on different systems though.
Also note that this is not an official recommendation because we haven't done any official tests so far.

Regarding the USB-eLicenser dicussion in general, I can only say that the USB-eLicenser will be here for some time to come. We are currently discussing a shorter version that would be introduced during next year if everything works as expected and we are also discussing a rather simple way for you to cover short term downtimes due to a USB-eLicenser failure or theft. No details are available yet but we'll let you know!
by Ed Doll
Tue Nov 05, 2013 11:21 am
 
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Great article...Keyboard Player Mag

Wonderful article on the keyboard sound design for Michael Jackson, thought I'd post here
Enjoy
Kenny
http://www.keyboardmag.com/article/mich ... d-now/1668
by kzarider
Mon Nov 04, 2013 5:48 pm
 
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Re: Tips Tricks And Workflow Goodness.

this one isn't too known i guess: to replace all instances of an audio event in a project (akin to exchanging a sample in a sampler), put your replacement sample in the pool, the drag it from the pool whist holding shift, and drop it onto the event to be replaced.
by lukasbrooklyn
Sat Nov 02, 2013 1:50 am
 
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Re: [MUSIC] Heroes of old

Very nice..you've kept it interesting with some really nice changes throughout the piece, when the distorted bass came in I was a little worried that it was gonna stay there for the rest of the track..but no, a very nice arrangement and like the title...Kevin
by shadowfax
Wed Nov 13, 2013 12:30 pm
 
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Re: [MUSIC] Heroes of old

First thing that I think the piece is lacking is a lack of layers in the instruments. It just sounds too empty despite some different parts. On the rare occasion that I try to do something electronic I try to think of it in a similar way of orchestration as orchestra. I think not only about how things are in pitch from low to high and if it sounds like there are missing pitch ranges between the lowest and highest parts but I'm also very conscience of how they also stack up left to right on the stage. I just visualize my electronic sounds as an extra or replaced seat on my imaginary orchestra stage. :P

Anyway, I think the ideas are coming along nicely. Makes me think of some videogame stuff, very cool atmosphere when I imagine a 2D platformer with your track. But like the melody section at 3:20, the bass is louder than the melody instrument which should never be the case, ever, in any genre. I think the melody could be layered up or just something in addition to being raised in volume. Experiment a bit with adding some subtle layers left and right and experiment with panning instruments specifically in the context of layering in unison, could be really cool!

The clap/snare sound could do with being a touch louder at some points and quieter at others and the overall balancing of instruments/percussion in general too. I'm listening on earphones but I'm pretty sure I'd still hear it that way on headphones too. If I'm imagining an ice level at like 2:20 for the clap/snare it'd be cool to create 2 of the tracks and have the reverb much bigger at that point to give it that "cold" sound. It doesn't sound like there is much reverb on at all anyway. I think a bit more would really help gel the sounds together as a composition.

Good start though, enjoyable so far. Keyboard sounds make me think a bit of a snow/ice level. xD Keep working at it unless you're already onto something new. :P
by Jonathan5456
Wed Nov 13, 2013 2:18 pm
 
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Re: Tips Tricks And Workflow Goodness.

For me, some of the best tips are keyboard shortcut or modifier keys and are not really hidden but I'll post them anyways:

-Hold shift + Ctrl, left click and drag up or down on midi event(s) to change their velocities
-Hold Ctrl while resising an event (when snap to grid is enabled) to bypass the snap to grid and resise freely (same thing for moving an event)
-This is simple but a lot of people don't know about this, use Grid Relative in the snap to grid panel if you want to move events but keep their starting position.
-when using the Range selection tool, hold Ctrl + Shift to select all tracks
-there's a command called select cursor to end, so if you assign this to a keyboard shortcut and also assign one to split at cursor, you can easily split all files and the select all on the right side of the split to move them
-if you want to delete a section but you want all event after to move where the deleted section is while keeping everything on the grid use the range selection tool while snap to grid is enabled, use the ctrl + shift modifier I talked about to select the part you want to delete (let's say you delete 2 bars), then go to the snap type in the snap to grid panel and change it to shuffle, then press delete. the 2 bars are gone and all event after moved to the left automatically. Don't forget to change the snap type again after tho ;)
-Variaudio shortcuts: press tab to switch between segment and pitch modes, hold ctrl while moving a note to put it perfectly on the pitch, hold shift while moving a note to move it freely
-In mixconsole, alt double click on sends to make the send plugin show up
-Add a Key command to Find track/Channel (in my case it's F) so when I press F I can start typing the name of a track and it will select it ... this is really usefull to find tracks easily in big sessions

I could go on like this but I don't want to clutter the forum ;) I hope this will help some of you
by trashdinner
Sat Nov 30, 2013 9:18 pm
 
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Happy New Year

Wishing you all the very best of everything for 2014. Most of all, health, safety and great companionship... if you have all those in order, its all good.

http://northwoodmediaworks.com/forum/images/smilies/t07007.gif

And happy new gear to some too :mrgreen: ..... not much for me just yet this season, but hoping that will change!
by NorthWood MediaWorks
Wed Jan 01, 2014 4:03 am
 
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Re: Android version - coming soon!

Hello guys,

A short update on this topic:
This is no vaporware, we are still working on this! Truth be told, the reason for the delays is that the Android platform has provided us constant headaches and tripping hazards and it is not as straight-forward as iOS.
However, we involved several forum users in our beta tests and we have now a release candidate we are working on to stabilise it to give you a great controller experience.
by crohde
Wed Nov 20, 2013 4:57 pm
 
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Re: Cubase IC Pro Audio Routing

Studio Pass...is this app available for the Android format?
by Rick Waters
Thu Jan 23, 2014 4:33 am
 
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Re: One dimensional vocal - lost its mojo

Mike Elliot's Guide to Mixing




The art and science of mixing, Part One by Mike Elliott

Mixing: probably the most misunderstood element of the recording chain. Some believe it to be completely incomprehensible, an arcane art form best left to those who are somehow more gifted than mere mortals. Others believe it to be a matter of just setting everything the same volume, add some reverb, and turn up the bass, done. Simple. Neither is anywhere close to the truth.

These are the facts. Mixing is a blend of art and science. A manipulation of textures, musical colors, and the application of ones own personal taste in music. It is also the understanding and application of a mind bending plethora of electronic gear to enhance the music. (The "science" part). The result is simple. Something homogenous, brilliantly executed, and most important, invisible! Something the listener may ignore, indeed be virtually unaware that anything like "mixing" ever took place, while enjoying the music. If the listener can "hear the mix" (other than pros listening to pros), it's a poor mix.

No one can "just start mixing". There is too much to be learned and experienced. It's not magic, but there is much trial and error, experimentation, and "it's almost right, but something's missing", to be gone through before you can actually lay claim to being a mixdown engineer. I suspect that I was at it for at least five years before I turned out my first respectable mix, even though some of my early efforts found their way on to major label releases. I finally arrived at that point only through experience, and the good advice I received from many helpful and patient people already well skilled at the task. It is some of that good advice that I will endeavor to pass on to you through this series of articles.

Starting at the bottom.

A good mix starts at the bottom. The sonic bottom is, the kick drum and bass. It is the bottom end that will determine if the mix is to be successful. If you miss it at this point, you will never get it right. All the automated fader moves in the world, EQ, compression, reverb, chorus, panning, doubling, sonic mangling, and/or anything else you might do after this point will not save you if the bottom end isn't right. Welcome to mixdown hell.

Kick starting your mix:

How many times have you reached a point in your mix where everything has become too loud, and you want to pull everything down a bit? Of course doing that, being a pain in the posterior, will mess up your mix anyway. How to avoid it? Start by setting the kick drum at -6 to -10 at the master fader. The kick channel fader level doesn't matter, unless of course you can't GET to -10. (Time to re-cut the kick). If you start with the kick at between -10 and -6, after adding everything else your final mix will magically be within a db or two of zero, every single time! It doesn't matter if you're mixing rock or country, jazz or pop, dance or trance. Every form of "conventional" music shares this application. Ah, if it were only that simple. Now comes the hard part. (Read "experience"). You must, at this point depending on the musical genre, and to the best of your ability, set the sound of the kick drum. Decide on the EQ: "Big" bottom? Maybe a bit of "Smack"? How about "Hip Hop" low mid? And how about compression? Will you use it? How much? There's the experimentation part. A good understanding of EQ and their functions will help immensely here. You might want to take a look back at one my earlier columns, on EQ. Once you've decided on the sound of the kick drum, NOW set that kick fader so that you are getting between -6 and -10 at the master fader. Never touch it again. Make the mix cooperate with the kick. If somewhere along the line you find you mist change the kick sound, do that WITH the mix, then solo the kick, and reset the level. Now reset your whole mix. (There's that nagging "experience" thing again). By the way, I can almost hear you asking, "So, what is it...-6 or -10?" Well, it's not that exact a science, but most cases, probably closer to -6. Ok, let's add something else now.

It takes two.

Now for the second element of the bottom end, the bass of course. It's time to match the bass to the kick. Just how that match will be done is entirely dependent on the type of music you're working with. In Country music for example, you want the bass "just inside" the kick. That is to say, the kick should sound essentially as if it were the attack of the bass. For rock, more evenly matched. For Dance, most likely more kick than bass, and the bass will be playing a different role here anyway. More n that later. Here's a biggie. DO NOT use the same EQ on both the bass and the kick. You are definitely going to want to create an individual sonic space for each. For instance, if you're looking for "thunder bottom", you might be tempted to boost 50 to 80hz on both the kick and bass. Don't do that! My personal preference on most types of music is to use the bass instrument for the extreme low end, and the kick for definition. For the kick, cut (yes, I said cut) , 60hz and down significantly, say -15db or so low shelf, and put around 3-5db boost at around 3k, narrow Q. Assuming electric bass, add in 3-5db at 80hz, again with a narrow Q. Match that with the kick, and see how that suits you for a bottom end. Again, I refer you to my prior article on EQ.

Now that we have set up a solid foundation to build our mix on, let's mute the bass for the time being and go on to the drums.

As the drums go, so goes your mix!

The drums are the single most important element of any mix. Be prepared to spend as much time getting your drum sound right as the rest of the mix put together. Of course we want to start with a great drum sound in the first place. (See last month's column on mic'ing). These days we must be prepared to work with drum samples as much or more often as live drums, but the way we treat them in mixing once again remains the same.

No gates. First, unless you have some sort of tragically recorded drum sound, avoid the use of gates. You really want to use the complete mic array to get that great sound of the drums. We have the kick (don't touch it), so let's add the snare next. First, pull up the snare to slightly below the desired level in relation with the kick. Make any compression settings you want to the snare at this point. (More on this in part two). DO NOT make any EQ settings at this time. Now mute your snare and pull up the overheads. (solo) and make EQ adjustments for the cymbals. You will probably want to add a bit of 10k or so to shine up the brass overall. Try phase reverse on one channel of the overheads and see if you like the result. (Keep checking the overhead phase as we add the rest of the kit).

Next, add the snare and listen your complete (almost) snare drum sound for the first time. (The level with the kick should be about right now) You may now start to play with the snare EQ. You will most likely find that you will not need to add any high end to the snare, as it will be showing up nicely in the overheads. This also has the added benefit of not pulling more hat into the snare channel. (Don't mess the overheads right now; remember they are set for the brass).

Next, with the kick, snare, and overheads all in pull up the hat. Hey, how about that, you hardly need to add much hat at all, as it sounds great in the overheads. Up till now we haven't panned anything. Kick, snare, and bass are all straight up the middle, and the overheads are panned stereo full. So now we use the pan on the hat to place it in the proper perspective with the kit. Don't pay much attention to the position of the pan knob, just put it in the right place aurally. (Remember the overheads?). You might want to lose some low end (100hz and down) from the hat. There's nothing much down there on the hat anyways, and it will help separate the hat from the snare.

OK, are you pretty much happy with the "time" elements of the drum kit now? If so, let's add the toms. It helps if you can find a nice tom fill section on the track and loop it, so you don't have to wait all day for another tom hit to come along. We are looking for two basic elements from the toms, attack and decay. The latter can be impacted greatly by compression, but we will have to get to that in part two of this tutorial. Depending on the way they were played, you might want to EQ a bit of attack on the toms. Look for that in the 2.5 to 4k area on all toms, small to large rack.

You will find that tuning on your toms has affected your snare somewhat. Probably not a great deal if they were well mic'ed in the first place, and you will not have to turn them up louder either. How about those overheads! Don't you dare gat those toms! You don't really want the sound of the entire drum kit changing completely every time the drummer hits a tom, now do you? You are ready for small tweaks across the whole kit now. Work slowly, and listen for any impact on the other elements of the kit other than the one you're currently tweaking.

For all of you drum SAMPLE users out there (that's me too), getting jealous of all this live drum tweaking, check out the excellent MixTended kits at wizoosounds.com, and you can join in the fun too. They are awesome!

Alright, and the bass back in and turn up the rest of the tracks up real loud, throw on lots of reverb, and you're done...NOT!

We have much more to talk about concerning drums, like compression, EQ reverb and more, but that will have to wait,along with adding some more tracks to the mix and what to do with them, until part two, next issue.

Until then, happy mixing, and check out my website at mikeelliottjazzguitar.com

Be cool

Mike
by swamptone
Tue Feb 25, 2014 12:09 am
 
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Arturia to be Acquired!!

Look at what I found on Wikiprang!


Dear Sir/Madam,

Please allow me to introduce myself. My name is Pratt Whitney III and I represent the private equity firm Oink Inc.

First, let me congratulate you on your novel and enterprising business model. It is so rare to discover a company whose products are both unusable and un-purchasable and yet ensure the customer’s credit card is debited by a specific sum.

This is what we, in our business, call disruptive. Your approach is precisely what we are looking for.

Our prerequisites to first investing in and later dismantling a company are onerous and our due diligence processes are derived from best practices originally developed by Enron.

We are happy to conclude your company either meets or exceeds all expectations in this regard and, therefore, we are delighted to propose this Letter of Understanding as an initial basis for later negotiations which shall include but not be limited to matters pertaining to:

1. Acquiring a controlling interest in your Company
2. Determining the preferred ordinance to be used by the firing squad in executing the technical, QA and sales staff.
3. Ensuring the smooth and elegant flow of revenue without providing goods or services to customers in return

We at Oink Inc. believe yours is the model of the future and while many technology companies match Arturia in terms of poor quality of goods and technical support you have set a higher standard by perfecting the business process by not actually shipping anything at all.

While speculating about the method by which Arturia developed this revolutionary business process we could only conclude its origins may be found in that other work of historic art whereby the French government ensured it would once again be at war with Germany twenty-odd year later by instituting the Treat of Versailles. We appreciate that this is hard to beat but in your own way you have achieved similar results at least to the extent that we are confident your customer base will similarly revolt at which point we can sell them weapons instead (please refer to our recent acquisition of the Bushehr reactor in Iran… good deal).

Vive la France!!
by cpechet1
Mon Mar 24, 2014 4:59 pm
 
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Re: Why Does Cubase Ruin My Creativity Every Time?

I remember following a thread way back in 1738, on a forum moderated by Charles I, the Duke of Brunswick-Wolfenbüttel, later the Prince of Wolfenbüttel. (Only Dukes or higher could moderate forums in those times, and replies were slow- the tablets were carried by messengers in wagon and on foot, and scrolling to the bottom of a long thread was the work of two men.

At this time Karl "Charlie" Steinberg was just starting out, and history is unclear on whether he had yet thought of using the mod wheel to change vibrato speed in real time, (there's no mod wheel on the Leipzig organ)

But I digress, already!

The thread was mainly between Johann S., and Anna M. Bach. iirc, Johann repeatedly requested that, when transcribing his improvisations (a job that would eventually be given to the Cubase von Hamburg Scriveners) could Anna please consistently draw the downward stems on the rearward side of the noteheads, and she kept saying that the stems were "by design" like that, but would think about changing the practice.

It did not happen. Almost 400 years later you can still look up Bach manuscripts and find plenty of "backwards" stems.

:|
by SteveInChicago
Tue Apr 08, 2014 4:21 pm
 
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Re: Edit audio

I don't know if you're still struggling with this, but... Preferences--> Audio --> On Processing Shared Clips --> select "open options dialog".

I'm paying it forward!!
by sintrade
Sat Apr 26, 2014 3:37 am
 
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Re: Steinberg have actually done me a major favour

This is one of the worst topics ever.
by TheNavigator
Sat Aug 16, 2014 9:31 am
 
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Guys...

I feel really bad because, I'm always thanking people for their help on this forum. But in return I'm of little to no help :(. Which whenever I make a new topic asking for help, I feel bad because I have no thanks, it's almost like bad karma in my opinion.

This isn't true in life for me because it's always the opposite, I'm always helping people all the time, without asking for anything in return and I never want anything in return. Afterall, you reap what you sew.

I don't really know everything about Cubase, because I've self taught myself everything I know without reading anything in the manual (I've read one small topic about Input Transformers, that's it) and you know what? I still don't understand Input Transformers because of reading the manual. I know how they work, just never worked out for me for what I was trying to do :) All I really use Cubase for is sequencing and arranging anyways, but still, wish I could help people out on here more, it really sucks seeing someone elses post and seeing them all frustrated, because I know exactly what that's like when they can't get help. It's really great to solve someone elses problems in Cubase so that they can continue expressing themselves as musicians and/or producers.

So in the future if you see my posts, I'm sorry I have no "Been Thanked", forgive me, I have tried :) it's the thought that counts.
by Hypergenesis
Sat Sep 27, 2014 10:10 pm
 
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