Showing posts with label Cubase. Show all posts
Showing posts with label Cubase. Show all posts
6/12/10
CUBASE 5 Heavyweight Audio Workstation
One of the reasons Cubase 5 has become the most used digital audio workstation in the world is because of it's comprehensive skill set one that's second to none.
"This is home studio recording heaven"... (Props Mag)
Cubase 5 has it covered like the tide, top to bottom side to side. It comes packed with tons of tools and ways to help you engineer professional sounding records. Now all home recording studio owners have a chance to compete with the so called giant studios. Thanks to digital technology and companies like Steinberg who help provide a level playing field. As music producers, musicians, and recording engineers it's our duty to support these software developers. Truth is without these guys there would be no home recording studios.
Steinberg doesn't need me as a pitch man. I'm just speaking on behalf of Cubase 5 because i own it, love it and understand the unlimited musical ideals that can be created using it. It's simple logic, if you want to produce a professional record inside your home studio, then you're going to have to power up. You're going to need a true digital audio workstation. One that's compatible with outside audio applications, midi and 64 bit vst platforms. Honestly speaking Cubase 5 does it all and then some. Steinberg continues to put out innovative industry standard products. It's no secret that any recording studio, home or professional can benefit greatly from using Cubase 5. Stay on the lookout for Cubase 5.5 which has new powerhouse features and toys and also comes free for registered Cubase 5 users. "Now we're bumping beats baby"
6/1/10
5/13/10
Using Cubase Send Effects
cubase send effects
Reverbs and delays are basically always used as send effects, as this allows you to channel different amounts of different channels to the same effect, while having one fader available to control the entire level of the effect. Compared among using multiple reverbs as record effects, this conserves CPU power and makes it easy to place multiple sources in the same acoustic space. Just remember the send effects should be set to 100 percent wet. To set up a send effect in Cubase, insert a plug-in on an FX or Group Channel —preferably an FX Channel.
Cubase contains plenty of choices for delay, but sometimes it pays to keep things simple and use MonoDelay or StereoDelay.In general, I find that it aides to think of your stereo mix as a three-dimensional space, consisting of a left-to-right stereo field, which you can control though panning, a 'vertical' frequency spectrum, which you can control via EQ (and by writing suitable characteristics for suitable instruments!), and front-to-back depth, which is built mainly with reverb- and delay-based effects (often combined with a bit of EQ).
A useful starting point for a mix (which is worth creating as a Project template in Cubase) is to set up somewhere between three and six FX Channels, for a different delay and/or reverb. For example, I created a template that includes six send effects channels. These include a very brief reverb provided for mainly the first part of reflections or 'ambience', a mid-length reverb and a longer reverb, and a parallel configuration for delays — one very short, with little or no feedback, one more noticeable, maybe with a touch of feedback, and another rather longer one, amidst feedback that I'll change based on information from song to song as required.
I might choose to use some further, 'special' reverbs and delays later, but this is often my basic starting point. I can use these kinds of FX Channels to place sounds at multiple points on the front-to-back axis, by sending varying amounts of the different channels to them. If you haven't tried this approach before, give it a go — it can be really effective and can save you a lot of clock ticking work.
When you use the sends to route a signal to an FX Channel, it defaults to sending the signal post-fader — that is to say, it's only the sound source as it sounds following EQ, insert effects and the volume fader that goes to the effects. But you can opt to send the signal before any of the processing or volume settings, which means that you get the unprocessed signal going to the FX Channel. To do this, you just click the pre-fader button.
Reverbs and delays are basically always used as send effects, as this allows you to channel different amounts of different channels to the same effect, while having one fader available to control the entire level of the effect. Compared among using multiple reverbs as record effects, this conserves CPU power and makes it easy to place multiple sources in the same acoustic space. Just remember the send effects should be set to 100 percent wet. To set up a send effect in Cubase, insert a plug-in on an FX or Group Channel —preferably an FX Channel.
Cubase contains plenty of choices for delay, but sometimes it pays to keep things simple and use MonoDelay or StereoDelay.In general, I find that it aides to think of your stereo mix as a three-dimensional space, consisting of a left-to-right stereo field, which you can control though panning, a 'vertical' frequency spectrum, which you can control via EQ (and by writing suitable characteristics for suitable instruments!), and front-to-back depth, which is built mainly with reverb- and delay-based effects (often combined with a bit of EQ).
A useful starting point for a mix (which is worth creating as a Project template in Cubase) is to set up somewhere between three and six FX Channels, for a different delay and/or reverb. For example, I created a template that includes six send effects channels. These include a very brief reverb provided for mainly the first part of reflections or 'ambience', a mid-length reverb and a longer reverb, and a parallel configuration for delays — one very short, with little or no feedback, one more noticeable, maybe with a touch of feedback, and another rather longer one, amidst feedback that I'll change based on information from song to song as required.
I might choose to use some further, 'special' reverbs and delays later, but this is often my basic starting point. I can use these kinds of FX Channels to place sounds at multiple points on the front-to-back axis, by sending varying amounts of the different channels to them. If you haven't tried this approach before, give it a go — it can be really effective and can save you a lot of clock ticking work.
When you use the sends to route a signal to an FX Channel, it defaults to sending the signal post-fader — that is to say, it's only the sound source as it sounds following EQ, insert effects and the volume fader that goes to the effects. But you can opt to send the signal before any of the processing or volume settings, which means that you get the unprocessed signal going to the FX Channel. To do this, you just click the pre-fader button.
5/2/10
Cubase Panning Control
Cubase Panning Control
When it comes to audio channels, the pan control is, in theory, pretty simple: if it's set to centre, an equal amount of the sound comes out of both speakers to give the illusion the sound is centered, while if the pan control is set to hard left or right, the sound only comes out of either the left or right speaker. By default the pan control for audio-based channels is set to centre, and for MIDI Channels it's set to 'off', meaning that no MIDI pan information is sent.
Cubase SX 3 and up offers additional flexibility for configuring the behaviour of the Mixer's VU meters via the VU Meter Settings sub-menu, available based on data from a pop-up menu if you right-click on the Mixer window.
Sounds straightforward. However, the pan control isn't that novice since without some form of compensation it's possible for sounds to sound unnaturally louder when they're panned centrally — there is output from two speakers, compared to when a sound is panned hard left or right, when there's only output from one. The solution, is to attenuate the signal as it passes through the center. This behaviour is known as pan law in recording.
You can adjust the amount of attenuation with the Pan Law Mode setting in the Project Setup window (press Shift+S to open). Cubase offers 3 choices.
0dB suggests there may be no attenuation in the center. As explained above, this can cause an unnatural stereo image, making sounds usually panned center (such as bass and bass-drum sounds) appear louder than they really are.
—6dB is, in theory, more natural sounding, but can be unsatisfactory for people who need tons of punch in instruments panned centrally (such as a bass line), so it's best to use this setting for stereo music where mono compatibility is important, as when producing audio for TV or other broadcast work.
—3dB is a compromise between the two settings, and Steinberg recommend its use for the majority of stereo music.
The default pan control in Cubase, where you can pan a sound from left to right in the stereo field, is known as the Stereo Balance Panner, while in the case of stereo audio tracks, if you right-click on a pan control you'll notice quickly Cubase provides a choice of two additional types of pan control for each channel. The Stereo Dual Panner gives you two Balance panners in the space of one, so now you can control the panning for each side of a stereo signal separately. The Stereo Combined Panner puts both left and right controls in the same field, with a filled blue area between them to show the width of the field. The left and right controls are linked by default, but you can move them independently by Alt/Option-dragging. The filled area between the two sides become red if left and right channels are reversed.
When it comes to audio channels, the pan control is, in theory, pretty simple: if it's set to centre, an equal amount of the sound comes out of both speakers to give the illusion the sound is centered, while if the pan control is set to hard left or right, the sound only comes out of either the left or right speaker. By default the pan control for audio-based channels is set to centre, and for MIDI Channels it's set to 'off', meaning that no MIDI pan information is sent.
Cubase SX 3 and up offers additional flexibility for configuring the behaviour of the Mixer's VU meters via the VU Meter Settings sub-menu, available based on data from a pop-up menu if you right-click on the Mixer window.
Sounds straightforward. However, the pan control isn't that novice since without some form of compensation it's possible for sounds to sound unnaturally louder when they're panned centrally — there is output from two speakers, compared to when a sound is panned hard left or right, when there's only output from one. The solution, is to attenuate the signal as it passes through the center. This behaviour is known as pan law in recording.
You can adjust the amount of attenuation with the Pan Law Mode setting in the Project Setup window (press Shift+S to open). Cubase offers 3 choices.
0dB suggests there may be no attenuation in the center. As explained above, this can cause an unnatural stereo image, making sounds usually panned center (such as bass and bass-drum sounds) appear louder than they really are.
—6dB is, in theory, more natural sounding, but can be unsatisfactory for people who need tons of punch in instruments panned centrally (such as a bass line), so it's best to use this setting for stereo music where mono compatibility is important, as when producing audio for TV or other broadcast work.
—3dB is a compromise between the two settings, and Steinberg recommend its use for the majority of stereo music.
The default pan control in Cubase, where you can pan a sound from left to right in the stereo field, is known as the Stereo Balance Panner, while in the case of stereo audio tracks, if you right-click on a pan control you'll notice quickly Cubase provides a choice of two additional types of pan control for each channel. The Stereo Dual Panner gives you two Balance panners in the space of one, so now you can control the panning for each side of a stereo signal separately. The Stereo Combined Panner puts both left and right controls in the same field, with a filled blue area between them to show the width of the field. The left and right controls are linked by default, but you can move them independently by Alt/Option-dragging. The filled area between the two sides become red if left and right channels are reversed.
11/28/09
E.Q. Frequency Table Chart Cubase
Here's a chart that will explain some of the problem areas that you may come across when E.Q.ing tracks.
31Hz Rumble, "chest"
63 Hz Bottom
125Hz Boom, thump, ****th
250Hz Fullness or mud
500Hz Honk
1KHz Whack
2KHz Crunch
4KHz Edge
8KHz Sibilance, definition, "ouch!"
16 KHz Air
1. If it sounds muddy, try cutting at 250Hz.
2. If it sounds honky, try cutting at 500Hz.
3. Cut the frequency if you’re trying to make things mesh and
sound better.
4. Boost the frequency if you’re trying to make things sound
different.
5. You can’t boost something that’s not there.
11/21/09
How To Overcome The Lyric Writing Hurdles That Are Keeping You Behind
The lyric writing side of songwriting is known to create an enormous number of problems for some folks. No matter how hard they try, they are unable to write a single line that they can be pleased with.
In many cases these very same people make phenomenal advancements in writing music and melodies. However they just can't seem to figure out how to come up with suitable lyrics to match them.
If you are facing such a situation, there's probably no need to worry. By taking certain appropriate steps you should be able to overcome lyric writing hurdles and write songs that deliver.
(1) Here are some essential ideas for overcoming these hurdles.
1. Collaboration
If you're very good at writing melodies but can't seem to write a single line, one solution might be collaboration. Instead of beating your head against the wall for ideas, find someone who is very good at writing lyrics and work together. You may be surprised at the wonders that can emanate from a combination of his excellence at writing lyrics and your brilliance at writing melodies.
2. Lyric writing tools
Perhaps you may be hoping for some other solution. While you don't mind the idea of collaboration, you want to allow yourself to get better at writing lyrics, instead of leaving it to someone else.
As far as I'm concerned, the importance of laying hold on good songwriting "tools" should never be underestimated. Educate yourself as much as you can. Make use of songwriting books, programs, courses, software, articles or whatever valuable resources that you have at your disposal.
3. Motivation
You've probably heard it said a thousand times ... Without motivation, you won't go very far. This also applies to your lyric writing. While the songwriting "tools" outlined above can help you improve, without adequate motivation failure is inevitable.
(2) Here are a few tips to help you generate lyric writing ideas.
1. Use different lyrics to bring the same message across.
Choose a theme which is known to have made a few hits. What message does this theme bring across? Write different lyrics that bring the same message across. A typical example of this is John Denver's "I'm Leaving on a Jetplane" and Wyclef Jean's "Gone till November". These songs made hits in different eras. Their basic message was similar ... Baby, you don't need to cry because I'll return.
2. Add a unique twist to a cliche.
Turn on your radio and you will hear cliches being repeated over and over. Using these very same cliches is simply a futile exercise. My suggestion is to add a unique twist to these cliches. This is something I am focusing on more and more.
A typical example of adding a unique twist to a cliche is found in Dianne Warren's "Unbreak my Heart" made popular by Toni Braxton. The ever popular cliche, "break my heart", was twisted.
(3) Here are three lyric writing suggestions.
1. Write a song about a particular incident. Your song should tell a story.
2. Write lyrics that have absolutely nothing to do with anything you've actually experienced.
3. Get lyric writing ideas from newspapers, magazines, movies, TV and so on.
Overcoming lyric writing hurdles involves a lot of determination, hard work and perseverance on your part. Implement the suggestions presented above and move one step closer to lyric writing success.
About The Author
Mantius Cazaubon offers lots of valuable songwriting tips, techniques, suggestions and advice on his site http://www.ultimatesongwriting.com. Visit http://www.ultimatesongwriting.com for the ultimate truth about lyric writing and songwriting.
mantius@ultimatesongwriting.com
In many cases these very same people make phenomenal advancements in writing music and melodies. However they just can't seem to figure out how to come up with suitable lyrics to match them.
If you are facing such a situation, there's probably no need to worry. By taking certain appropriate steps you should be able to overcome lyric writing hurdles and write songs that deliver.
(1) Here are some essential ideas for overcoming these hurdles.
1. Collaboration
If you're very good at writing melodies but can't seem to write a single line, one solution might be collaboration. Instead of beating your head against the wall for ideas, find someone who is very good at writing lyrics and work together. You may be surprised at the wonders that can emanate from a combination of his excellence at writing lyrics and your brilliance at writing melodies.
2. Lyric writing tools
Perhaps you may be hoping for some other solution. While you don't mind the idea of collaboration, you want to allow yourself to get better at writing lyrics, instead of leaving it to someone else.
As far as I'm concerned, the importance of laying hold on good songwriting "tools" should never be underestimated. Educate yourself as much as you can. Make use of songwriting books, programs, courses, software, articles or whatever valuable resources that you have at your disposal.
3. Motivation
You've probably heard it said a thousand times ... Without motivation, you won't go very far. This also applies to your lyric writing. While the songwriting "tools" outlined above can help you improve, without adequate motivation failure is inevitable.
(2) Here are a few tips to help you generate lyric writing ideas.
1. Use different lyrics to bring the same message across.
Choose a theme which is known to have made a few hits. What message does this theme bring across? Write different lyrics that bring the same message across. A typical example of this is John Denver's "I'm Leaving on a Jetplane" and Wyclef Jean's "Gone till November". These songs made hits in different eras. Their basic message was similar ... Baby, you don't need to cry because I'll return.
2. Add a unique twist to a cliche.
Turn on your radio and you will hear cliches being repeated over and over. Using these very same cliches is simply a futile exercise. My suggestion is to add a unique twist to these cliches. This is something I am focusing on more and more.
A typical example of adding a unique twist to a cliche is found in Dianne Warren's "Unbreak my Heart" made popular by Toni Braxton. The ever popular cliche, "break my heart", was twisted.
(3) Here are three lyric writing suggestions.
1. Write a song about a particular incident. Your song should tell a story.
2. Write lyrics that have absolutely nothing to do with anything you've actually experienced.
3. Get lyric writing ideas from newspapers, magazines, movies, TV and so on.
Overcoming lyric writing hurdles involves a lot of determination, hard work and perseverance on your part. Implement the suggestions presented above and move one step closer to lyric writing success.
About The Author
Mantius Cazaubon offers lots of valuable songwriting tips, techniques, suggestions and advice on his site http://www.ultimatesongwriting.com. Visit http://www.ultimatesongwriting.com for the ultimate truth about lyric writing and songwriting.
mantius@ultimatesongwriting.com
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