User manual
Table Of Contents
- Table of Contents
- Introduction
- Part I: Getting into the details
- Setting up your system
- VST Connections
- The Project window
- Working with projects
- Creating new projects
- Opening projects
- Closing projects
- Saving projects
- The Archive and Backup functions
- The Project Setup dialog
- Zoom and view options
- Audio handling
- Auditioning audio parts and events
- Scrubbing audio
- Editing parts and events
- Range editing
- Region operations
- The Edit History dialog
- The Preferences dialog
- Working with tracks and lanes
- Playback and the Transport panel
- Recording
- Quantizing MIDI and Audio
- Introduction
- Quantizing Audio Event Starts
- AudioWarp Quantize (Cubase Only)
- Quantizing MIDI Event Starts
- Quantizing MIDI Event Lengths
- Quantizing MIDI Event Ends
- Quantizing Multiple Audio Tracks (Cubase Only)
- AudioWarp Quantizing Multiple Audio Tracks (Cubase Only)
- The Quantize Panel
- Additional Quantizing Functions
- Fades, crossfades, and envelopes
- The arranger track
- The transpose functions
- Using markers
- The MixConsole
- Overview
- Configuring the MixConsole
- Keyboard Navigation in the MixConsole
- Working with the Fader Section
- Working with the Channel Racks
- Linking Channels (Cubase only)
- Metering (Cubase only)
- Using Channel Settings
- Saving and Loading Selected Channel Settings
- Resetting MixConsole Channels
- Adding Pictures
- Adding Notes
- The Control Room (Cubase only)
- Audio effects
- VST instruments and instrument tracks
- Surround sound (Cubase only)
- Automation
- Audio processing and functions
- The Sample Editor
- The Audio Part Editor
- The Pool
- The MediaBay
- Introduction
- Working with the MediaBay
- The Define Locations section
- The Locations section
- The Results list
- Previewing files
- The Filters section
- The Attribute Inspector
- The Loop Browser, Sound Browser, and Mini Browser windows
- Preferences
- Key commands
- Working with MediaBay-related windows
- Working with Volume databases
- Working with track presets
- Track Quick Controls
- Remote controlling Cubase
- MIDI realtime parameters and effects
- Using MIDI devices
- MIDI processing
- The MIDI editors
- Introduction
- Opening a MIDI editor
- The Key Editor – Overview
- Key Editor operations
- The In-Place Editor
- The Drum Editor – Overview
- Drum Editor operations
- Working with drum maps
- Using drum name lists
- The List Editor – Overview
- List Editor operations
- Working with SysEx messages
- Recording SysEx parameter changes
- Editing SysEx messages
- The basic Score Editor – Overview
- Score Editor operations
- Working with the Chord Functions
- Introduction
- The Chord Track
- The Chord Track Inspector Section
- The Chord Editor
- The Chord Assistant (Cubase only)
- Creating a Chord Progression from Scratch (Chords to MIDI)
- Extracting Chords from MIDI (Make Chords)
- Controlling MIDI or Audio Playback with the Chord Track (Follow Chords)
- Assigning Chord Events to MIDI Effects or VST Instruments
- Expression maps (Cubase only)
- Note Expression
- The Logical Editor, Transformer, and Input Transformer
- The Project Logical Editor (Cubase only)
- Editing tempo and signature
- The Project Browser (Cubase only)
- Export Audio Mixdown
- Synchronization
- Video
- ReWire
- File handling
- Customizing
- Key commands
- Part II: Score layout and printing (Cubase only)
- How the Score Editor works
- The basics
- About this chapter
- Preparations
- Opening the Score Editor
- The project cursor
- Playing back and recording
- Page Mode
- Changing the zoom factor
- The active staff
- Making page setup settings
- Designing your work space
- About the Score Editor context menus
- About dialogs in the Score Editor
- Setting clef, key, and time signature
- Transposing instruments
- Printing from the Score Editor
- Exporting pages as image files
- Working order
- Force update
- Transcribing MIDI recordings
- Entering and editing notes
- About this chapter
- Score settings
- Note values and positions
- Adding and editing notes
- Selecting notes
- Moving notes
- Duplicating notes
- Cut, copy, and paste
- Editing pitches of individual notes
- Changing the length of notes
- Splitting a note in two
- Working with the Display Quantize tool
- Split (piano) staves
- Strategies: Multiple staves
- Inserting and editing clefs, keys, or time signatures
- Deleting notes
- Staff settings
- Polyphonic voicing
- About this chapter
- Background: Polyphonic voicing
- Setting up the voices
- Strategies: How many voices do I need?
- Entering notes into voices
- Checking which voice a note belongs to
- Moving notes between voices
- Handling rests
- Voices and Display Quantize
- Creating crossed voicings
- Automatic polyphonic voicing – Merge All Staves
- Converting voices to tracks – Extract Voices
- Additional note and rest formatting
- Working with symbols
- Working with chords
- Working with text
- Working with layouts
- Working with MusicXML
- Designing your score: additional techniques
- About this chapter
- Layout settings
- Staff size
- Hiding/showing objects
- Coloring notes
- Multiple rests
- Editing existing bar lines
- Creating upbeats
- Setting the number of bars across the page
- Moving bar lines
- Dragging staves
- Adding brackets and braces
- Displaying the Chord Symbols from the Chord Track
- Auto Layout
- Reset Layout
- Breaking bar lines
- Scoring for drums
- Creating tablature
- The score and MIDI playback
- Tips and Tricks
- Index
348
The Sample Editor
Working with hitpoints and slices
Using hitpoints has the advantage that the quality of the sound is not affected and no
artifacts are being introduced. The audio is cut up into slices that are then moved on
the timeline, making this method especially suited for drums, which contain silence
between the individual sounds. Furthermore, hitpoint detection is useful for multi-track
drum recordings, because the phase alignment is kept stable. Using hitpoints and
slices for continuous audio material is not recommended, as it is difficult to fill the
gaps caused by moving the slices.
Detecting and filtering hitpoints
Hitpoints are calculated when you activate the “Edit Hitpoints” option on the Hitpoints
tab. The audio event is analyzed and the hitpoints are shown as vertical lines.
Depending on the quality and type of the analyzed audio material, you may have to
fine-tune the hitpoint detection using the Threshold slider and the Beats pop-up
menu. Furthermore you can manually add, edit, or remove hitpoints.
• To filter out hitpoints based on their peaks in dB, use the Threshold slider. The
threshold is indicated by horizontal lines on the waveform.
This can be used to eliminate hitpoints in crosstalk signals, for example, by keeping
the louder bass drum hits and ignoring the quieter crosstalk signals of the snare
drum.
• To filter out hitpoints by their musical position, use the Beats pop-up menu. Only
hitpoints within a certain range of a defined beat value are allowed. The following
options are available:
Ö When hitpoints have been calculated, they are also visible in the Project window for
selected events (provided that the zoom factor is high enough). In the Sample Editor,
hitpoints are displayed in the waveform when the Hitpoints tab is open. When the
AudioWarp tab is open, hitpoint positions are indicated with small triangles at the top
of the waveform display and the Range Selection and Free Warp tools snap to them.
Auditioning and hitpoints
• You can audition the hitpoint slices, that is the area between two hitpoints, by
pointing and clicking in any slice area.
The pointer changes to a speaker icon and the corresponding slice is played back
from the beginning to the end.
Navigating between hitpoints
• You can navigate between the slices using the arrow keys or by pressing the [Tab]
key.
• You can select the next or previous hitpoint marker using the “Locate
Next/Previous Hitpoint” commands.
The default key commands for this are [Alt]/[Option]-[N] and [Alt]/[Option]-[B].
Option Description
All All hitpoints are shown taking the Threshold slider into account.
1/4, 1/8,
1/16, 1/32
Only hitpoints that are close to the selected note value positions within
the loop are shown.
A second ruler displaying the local definition of the audio file is shown
below the ordinary ruler.