The documentation applies to the operating systems Windows and macOS.

In our documentation, we use typographical and markup elements to structure information.

Many of the default key commands, also known as keyboard shortcuts, use modifier keys, some of which are different depending on the operating system.

When using Cubase with external tape transports, you most likely must add a synchronizer to your system.

The Audio Connections window allows you to set up input and output busses, group and FX channels, external effects, and external instruments. Furthermore, you can use this window to access and configure the Control Room (Cubase Pro only).

Before you set up busses, you should rename the default inputs and outputs of your audio hardware. This allows transferring projects between different computers and setups.

Child busses allow you to route tracks to particular channels within a bus.

For input and output bus configurations, you can use different kinds of presets.

Group channels and FX channels allow you to group bus configurations.

In the Audio Connections window, you can set up the busses that are used for monitoring, activate/deactivate and open the Control Room.

You can integrate external effect devices and external instruments, for example, hardware synthesizers, into the sequencer signal flow.

After you have set up all the required busses for a project you can edit the names and change port assignments. The bus configuration is saved with the project.

You can show/hide the zones in the Project window according to your needs.

The project zone is the heart of the Project window and cannot be hidden.

The left zone of the Project window allows you to display the Inspector and the Visibility.

The lower zone of the Project window allows you to display specific windows and editors in an integrated and fixed zone of the Project window. This is useful if you work on single screen systems and notebooks, for example.

The right zone of the Project window allows you to display the VSTi rack, the Media rack, the Control Room rack (Cubase Pro only), and the Meter rack (Cubase Pro only).

The different zones in the Project window can be controlled by using key commands. To make sure that a key command has effect on a specific zone, you must make sure that this zone has the keyboard focus.

You can zoom in the Project window according to the standard zoom techniques.

The Snap function helps you to find exact positions when editing in the Project window. It does this by restricting horizontal movement and positioning to certain positions. Operations affected by Snap include moving, copying, drawing, sizing, splitting, range selection, etc.

The cross-hair cursor is displayed when working in the Project window and in the editors, facilitating navigation and editing, especially when arranging large projects.

The Edit History dialog contains a list of all your edits. This allows you to undo all actions in the Project window as well as in the editors.

You can colorize events and tracks in Cubase.

You can create empty projects or projects that are based on a template.

Hub keeps you up to date with the latest information and assists you with organizing your projects.

The Project Assistant dialog assists you with organizing your projects.

A project file (extension *.cpr) is the central document in Cubase. A project file contains references to media data that can be saved in the project folder.

Templates can be a good starting point for new projects. Templates are projects where you can save all settings that you regularly use, such as bus configurations, sample rates, record formats, basic track layouts, VSTi setups, drum map setups, etc.

You can perform general settings for your project in the Project Setup dialog.

You can open one or several saved project files at the same time.

You can save the active project as a project file. To keep your projects as manageable as possible, make sure that you save project files and all related files in the respective project folders.

You can return to the last saved version and discard all changes that have been introduced.

You can specify a project location for saving projects in the Hub and in the Project Assistant.

If you want to share your work or transfer it to another computer, your project must be self-contained.

For each track type, you can configure which Inspector sections are shown. You can also specify the order of the sections.

For each track type, you can configure which track controls are shown in the track list. You can also specify the order of controls and group controls so that they are always shown adjacent to each other.

You can use audio tracks for recording and playing back audio events and audio parts. Each audio track has a corresponding audio channel in the MixConsole. An audio track can have any number of automation tracks for automating channel parameters, effect settings, etc.

You can use instrument tracks for dedicated VST instruments. Each instrument track has a corresponding instrument channel in the MixConsole. An instrument track can have any number of automation tracks.

You can use sampler tracks for controlling the playback of audio samples via MIDI. Each sampler track has a corresponding channel in the MixConsole. A sampler track can have any number of automation tracks.

You can use MIDI tracks for recording and playing back MIDI parts. Each MIDI track has a corresponding MIDI channel in the MixConsole. A MIDI track can have any number of automation tracks.

You can use FX channel tracks for adding send effects. Each FX channel can contain up to eight effect processors. By routing sends from an audio channel to an FX channel, you send audio from the audio channel to the effects on the FX channel. You can place FX channel tracks in a special FX channel folder, or in the track list, outside an FX channel folder. Each FX channel has a corresponding channel in the MixConsole. An FX channel track can have any number of automation tracks.

You can use group channel tracks to create a submix of several audio channels and apply the same effects to them. A group channel track contains no events as such, but displays settings and automation for the corresponding group channel.

You can use a VCA fader track to add VCA faders to your project.

Cubase Pro only: You can use marker tracks to add and edit markers that help you to locate certain positions quickly. Cubase Artist only: You can use the marker track to add and edit markers that help you to locate certain positions quickly.

You can use ruler tracks to show several rulers with different display formats for the timeline. This is completely independent from the main ruler, as well as rulers and position displays in other windows.

Folder tracks function as containers for other tracks, making it easier to organize and manage the track structure. They also allow you to edit several tracks at the same time.

Some track types can only be added once.

You can add tracks via the Add Track dialog. This dialog is only available for track types that can be added more than once.

The arranger track, the chord track, the signature track, the tempo track, the transpose track, and the video track belong to the category of other tracks. They can only be added once. In Cubase Artist, the marker track also belongs to that category.

You can add tracks based on track presets. Track presets contain sound and channel settings.

You can add tracks by dragging files from the MediaBay.

You can import audio, instrument, sampler, MIDI, chord, marker, and video tracks from other Nuendo or Cubase projects.

You can export MIDI tracks as standard MIDI files. This allows you to transfer MIDI material to virtually any MIDI application on any platform.

You can convert mono tracks into multi-channel tracks to make editing and mixing more convenient.

You can remove selected tracks from the track list.

You can remove empty tracks from the track list.

You can move tracks up or down in the track list.

You can set up the Auto Track Color Mode settings to control which colors are used for new tracks.

You can add pictures to tracks to recognize your tracks easily. Track pictures are available for audio, instrument, MIDI, FX channel and group channel tracks.

You can enlarge the track height to show the events on the track in detail, or you can decrease the height of several tracks to get a better overview of your project.

You can duplicate a track with all contents and channel settings.

You can disable audio, instrument, MIDI, and sampler tracks that you do not want to play back or process at the moment. Disabling a track zeroes its output volume and shuts down all disk activity and processing for the track.

You can organize your tracks in folders by moving tracks into folder tracks. This allows you to perform editing on several tracks as one entity. Folder tracks can contain any type of track including other folder tracks.

The basic rule for audio tracks is that each track can only play back a single audio event at a time. If two or more events overlap, only the one that is in front is played back. You can, however, select the event/region that you want to play back.

You can show, hide, or invert tracks that are displayed in the Project window event display. This allows you to divide the project into several parts by creating several folder tracks for the different project elements and showing/hiding their contents by selecting a menu function or using a key command. You can also fold in automation tracks this way.

Closed folder tracks can display data of the contained audio, MIDI, and instrument tracks as data blocks or as events.

You can modify the event display on folder tracks.

In the following, we focus on cycle recordings with takes. However, you can also apply lane operations and comping methods on overlapping events or parts that you assemble on one track.

The time base of a track determines if the events on a track are positioned to bars and beats (musical time base) or to the timeline (linear time base). Changing the playback tempo affects only the time position of events on tracks with a musical time base.

Track versions allow you to create and manage multiple versions of events and parts on the same track.

Track presets are templates that can be applied to newly created or existing tracks of the same type.

In Cubase, most event types can be viewed and edited on their specific tracks in the Project window.

Parts are containers for MIDI or audio events, and for tracks.

This section describes techniques for editing in the Project window. If not explicitly stated, all descriptions apply to both events and parts, even though we use the term event for convenience.

You can edit selection ranges, that is, adjust their size, move or duplicate them, split them, etc.

The Transport panel contains the main transport functions as well as many other options related to playback and recording.

The Transport menu contains several transport functions as well as many other options related to playback and recording.

The Transport Bar contains all transport functions in an integrated and fixed zone of the Project window.

The Transport pop-up window allows you to access specific transport commands if the Transport panel, the Transport Bar, and theTransport Controls in the Project window toolbar are closed or hidden.

The Time Display window allows you to view the current time position in a separate window. You can adjust its size and specify the time format that you want to display.

The left and right locators are a pair of markers that you can use to set up cycle boundaries. Left and right locators are available in the Project window as well as in the editors.

You have several possibilities to set the project cursor position, that is, to locate to specific time positions in the Project window.

Auto-Scroll allows you to keep the project cursor visible in the window during playback.

You can set up different time formats.

You can activate pre-roll and post-roll with the corresponding buttons in the Pre-roll & Post-roll section on the Transport panel or by selecting Transport > Pre-roll & Post-roll > Use Pre-roll/Use Post-roll.

The punch in and the punch out points are a pair of markers that you can use for punch in and punch out of recordings. The punch in position determines the record start position and the punch out position determines the record stop position.

You can use the metronome click as a timing reference for playing along and recording. The two parameters that govern the timing of the metronome are project tempo and the time signature that you can set up on the Transport panel.

Chase is a function that makes sure your MIDI instruments sound as they should when you locate to a new position and start playback. This is accomplished by the program transmitting a number of MIDI messages to your instruments each time that you move to a new position in the project, making sure all MIDI devices are set up correctly with regard to program change, controller messages (such as MIDI volume), etc.

The basic recording methods apply to audio and MIDI recordings.

In Cubase, monitoring means listening to the input signal while preparing to record or while recording.

The Max. Record Time display lets you see how much time you have left for recording.

The Lock Record function prevents you from accidentally deactivating record mode.

You can import compressed and uncompressed audio files in a variety of different formats. You can also import audio from audio CDs or extract the audio of video files.

Cubase can import standard MIDI files. This allows you to transfer MIDI material to and from virtually any MIDI application on any platform.

The quantize functions are available in the Edit menu and in the Snap and Quantize sections of the Project window toolbar.

You can quantize an audio event or an audio selection range by applying time stretch to the content of the audio event.

You can quantize multiple audio tracks at the same time.

The Quantize Panel allows you to define how to quantize audio or MIDI to the grid or to a groove. Depending on what method you choose, different parameters are shown.

You can create event-based fade ins and fade outs. These are calculated in real time when you play back audio events. You can create different fade curves for several events, even if they refer to the same audio clip.

You can create and edit clip-based fade ins and fade outs using Direct Offline Processing. These fades are applied to the audio clip. Events that refer to the same clip get the same fades.

Crossfades allow you to create smooth transitions for consecutive audio events on the same track. Crossfades are always event-based.

Cubase features an Auto Fade function that can be set both globally and separately for each audio track. Auto fades allow you to create smoother transitions between events by applying fade ins and fade outs with a length between 1 and 500 ms.

Event envelopes are volume curves for audio events. They allow you to create volume changes within the event, not only at the start or end.

On the arranger track, you can add arranger events that define specific sections of the project.

The Arranger Editor allows you to set up arranger chains.

In the Arranger Editor you can set up arranger chains and add events to them.

If you have set up an arranger track and play it back, you have live access to the playback order. This way, you can loop your arranger events with more flexibility regarding the length of the playback.

When you compose music for video, you can use arranger events to fill a specific video section with music. The following is an example on how you could do that.

The Project Root Key allows you to transpose your project. Audio or MIDI events in your project use it as a reference.

The transpose track allows you to transpose the entire project or sections of it. This function is useful if you want to create harmonic variations.

Keep Transpose in Octave Range on the transpose track keeps the transposition in the octave range.

In the Project window info line, you can change the transpose value for individual parts or events.

If you add global transposition, for example, by changing the root key or by creating transpose events, you can exclude specific events from being transposed. This is useful for drum and percussion loops or special effects (FX) loops.

Position markers allow you to save a specific position.

By creating cycle markers you can save any number of left and right locator positions as start and end positions of a range and recall them by double-clicking on the corresponding marker.

In the Markers window, you can view and edit markers. Cubase Pro only: The markers on the active marker track are displayed in the marker list in the order in which they occur in the project. Cubase Artist only: The markers on the marker track are displayed in the marker list in the order in which they occur in the project.

A marker track is used for adding and editing markers.

Markers and marker tracks can be imported and exported.

You can show a MixConsole in the lower zone of the Project window. This is useful if you want to access the most important MixConsole functions from within a fixed zone of the Project window. The MixConsole in the lower zone of the Project window is a separate MixConsole that does not follow any visibility changes you perform in the MixConsole window.

You can open the MixConsole in a separate window.

VCA fader channels are different from the default fader channels.

You can create VCA faders in the MixConsole.

You can link channels and assign VCA faders to control them.

You can remove VCA faders from link groups.

VCA faders can control other VCA faders.

VCA fader automation influences the automation of link groups.

To be able to use the Control Room, you must add the channels that you need first.

Generally, the port assignment to the Control Room channels is exclusive. However, it can be useful to create monitor channels that share device ports with each other as well as inputs and outputs. This can be helpful if you use the same speakers as a stereo pair and also as the left and right channels of a surround speaker configuration, for example.

Each Control Room channel type that you create defines an input or output of the Control Room.

The Control Room Main tab displays information and controls for the channels that you define on the Control Room tab in the Audio Connections window.

The Control Room Inserts tab contains additional settings for the channels.

You can create a cue mix from the fader and pan levels that are used in the MixConsole and change them to meet the needs of the individual performers.

You can adjust multiple send levels at the same time for the cue send mix, keeping the blend intact while lowering the overall volume. This is sometimes necessary, because the levels in the main mix are often optimized for the loudest possible signal level without clipping.

Cubase provides a master meter and a loudness meter that can be shown in the right zone of the Project window and the MixConsole, or in a separate window in the Control Room.

Loudness measurements that correspond to the recommendation R 128 of the European Broadcasting Union (EBU) consider loudness, loudness range, and maximum true peak level values.

You can apply effects to audio channels by using insert effects or send effects.

Insert effects can be inserted in the signal chain of an audio channel. This way, the whole channel signal passes through the effect.

The VST effect selector allows you to select VST effects of the active collection.

Send effects are outside the signal path of an audio channel. The audio data that is to be processed must be sent to the effect.

Many VST 3 effects feature a side-chain input. Side-chaining allows you to use the output of one track to control the action of an effect on another track.

Dither effects allow you to control the noise that is produced by quantization errors that can occur when you mix down to a lower bit depth.

You can integrate external effect devices into the sequencer signal flow by setting up external FX busses.

The effect control panel allows you to set up the parameters of the selected effect. The contents, design, and layout of the control panel depend on the selected effect.

Effect presets store the parameter settings of an effect. The included effects come with a number of presets that you can load, adjust, and save.

The System Component Information window lists all available MIDI plug-ins, audio-codec plug-ins, program plug-ins, project import-export plug-ins, and the virtual file system plug-ins.

You can perform offline processing operations in the Direct Offline Processing window. The window always shows the processing of the selected audio.

The Direct Offline Processing window allows you to add, modify, or delete audio processing instantly for one or multiple events, clips, or selection ranges in one window. Furthermore, you can undo any audio processing, at any point and in any order.

Cubase provides several built-in audio processes that can be used for Direct Offline Processing.

You can apply offline processing by using key commands.

The élastique algorithm is suited for polyphonic and monophonic material.

MPEX is an alternative high-quality algorithm.

The Standard algorithm is optimized for CPU-efficient realtime processing.

Applying time stretching or pitch shifting to audio material can lead to a degradation in audio quality and to audible artifacts. The result depends on the source material, the particular stretch and pitch operations applied, and the selected audio algorithm preset.

Detect Silence allows you to search for silent sections in events. You can split events and remove the silent parts from the project, or create regions corresponding to the non-silent sections.

The Spectrum Analyzer window displays the audio spectrum of an event, clip, or selection range as a two-dimensional graph, with frequency range on the x-axis and level distribution on the y-axis.

The Statistics function analyzes the selected audio events, clips, or selection ranges.

The toolbar contains tools for selecting, editing, and playing back audio.

The info line shows information about the audio clip, such as the audio format and the selection range.

The overview line displays the whole clip, and indicates which part of the clip is shown in the waveform display.

The Inspector shows controls and parameters that allow you to edit the audio event that is opened in the Sample Editor.

The ruler shows the timeline and display format of the project, the project tempo grid.

The waveform display shows the waveform image of the edited audio clip.

In the Sample Editor you can edit selection ranges. This option is useful if you want to quickly edit or process a specific section in the audio waveform, or if you want to create a new event or clip.

Regions are sections within an audio clip that allow you to mark important sections in the audio. You can add and edit regions for the selected audio clip in the regions zone.

The snap point is a marker within an audio event that can be used as a reference position.

When you add an audio file to your project by recording or by importing, Cubase automatically detects hitpoints.

You can navigate through the hitpoints of an audio event in the Project window.

You can create slices from hitpoints, where each slice ideally represents an individual sound or beat of the audio.

You can use hitpoints to create a groove quantize map.

You can create markers at hitpoint positions. This allows you to snap to hitpoint positions.

You can create regions at hitpoint positions. This allows you to isolate recorded sounds.

You can create events at hitpoint positions.

You can create warp markers at hitpoint positions. This allows you to quantize audio based on hitpoint positions.

You can create MIDI notes from hitpoints. This allows you to double, replace, or enrich drum hits by triggering sounds of a VST instrument.

You can select an algorithm preset that is applied for realtime playback and time stretching.

You can stretch audio loops to the project tempo.

The Musical Mode allows you to tempo-match audio loops to the project tempo.

The Auto Adjust function is useful if you do not know the tempo of your audio file, or if the beat is not straight. It allows you to extract a definition grid from your audio. After that, you can tempo match the file to the project tempo with the Musical Mode.

The Manual Adjust function is useful if you need to manually modify the grid and tempo of your audio file. This is the case if the extraction of a definition grid with the Auto Adjust function did not bring satisfying results, for example.

The Free Warp tool allows you to correct the timing of individual positions in the audio material.

The Audio Alignment tool allows you to automatically match the timing of similar audio events or selection ranges that you want to play back simultaneously.

You can flatten warp modifications. This is useful if you want to reduce the CPU load, optimize the sound quality of the processing, or apply any offline processing.

If you apply offline processes and edits that affect the length of audio files that contain VariAudio data, existing VariAudio data becomes invalid. We therefore recommend that you apply offline processing or edits before using the VariAudio features.

The VariAudio section allows you to edit individual notes of your audio file, change their pitch or timing, and to extract MIDI from your audio.

Each segment has smart controls that allow you to change the start and end points of the segment and to perform pitch changes, volume editing, formant shifting, and timing modifications of the associated audio.

To be able to edit the pitch and correct the timing of monophonic recordings, Cubase must analyze the audio and split it into segments.

Cubase automatically analyzes the audio and splits it into segments.

You can audition the segments one by one or in a loop, or play them back from the beginning to the end.

You can navigate through the segments and zoom in on them.

Segment editing might be necessary if the original audio contains non-tonal portions of the analyzed audio, that is, signals or sections with unclear pitch information, such as consonants or effect sounds.

You can change the pitch of audio segments for corrective or creative purposes. By changing note pitches, you can change the melody of the original audio.

Modifying the timing of segments, or warping, is useful if you want to align a musical accent to a certain time position or change the timing of segments in monophonic recordings.

You can use a MIDI track as a reference for your pitch and timing corrections.

Formants are the harmonic frequencies that occur in the human voice. They define the timbre and alter the perception of how a vocal has been performed (more from the diaphragm than from the throat, for example). Formant shifting does not affect the pitch or timing of a segment.

You can raise or lower the volume of the audio for a segment or mute it.

Cubase allows you to quickly create harmonies for monophonic audio material.

The toolbar contains tools for selecting, editing, and playing back audio parts.

The info line shows information about the audio part, such as the start, end, length, or the time stretch algorithm.

The ruler shows the timeline and the display format of the project.

Lanes can make it easier to work with several audio events in a part. Moving some of the events to another lane can make selecting and editing much easier.

All operations can be performed in the Audio Part Editor window and in the lower zone editor.

You can load audio samples into Sampler Control by dragging.

You can load MIDI parts from instrument tracks or MIDI tracks into Sampler Control by dragging.

If the sampler track is selected, Sampler Control is available in the lower zone of the Project window. Sampler Control allows you to view, edit, and play back samples or specific sections of the samples.

All sample editing in Sampler Control is non-destructive.

You can transfer audio samples with all settings that you have made in Sampler Control to specific Steinberg VST instruments.

The Pool window allows you to manage the media files of the active project.

The Media rack in the right zone of the Project window allows you to access the MediaBay functions from within a fixed zone of the Project window.

Cubase saves all media file information that is used in the MediaBay, such as paths and attributes, in a local database file on your computer. However, in some cases, it might be necessary to browse and manage this kind of metadata on an external volume.

A surround mix in Cubase can be sent as multichannel audio from the surround output bus to a recorder, or can be exported to audio files on your hard disk.

Cubase supports several surround channel configurations.

You must prepare Cubase for surround sound by defining input and output busses in a surround format and specifying which audio inputs and outputs are used for the different channels in the busses.

The VST MultiPanner plug-in allows you to position a sound source in the surround field or to modify existing premixes. The plug-in distributes the incoming audio in various proportions to the output surround channels.

MixConvert V6 is a plug-in that converts one multichannel audio source into another multichannel destination. It is most frequently used to downmix a multichannel surround mix into a format with fewer channels, for example, a 5.1 surround mix into a stereo mix.

Cubase allows you to export a surround mix using the Export Audio Mixdown function.

Cubase allows you to create 3D mixes in Ambisonics format for virtual reality (VR) or augmented reality (AR) productions. You can use the integrated functions and plug-ins for spatial mixing or head-tracking monitoring, or use dedicated third-party plug-ins.

Within a Cubase project, the changes in a parameter value over time are reflected as curves on automation tracks.

When you open an automation track for the first time, it does not contain any automation events. This is reflected in the event display as a dotted horizontal line, the static value line. This line represents the current parameter setting.

You can automation-enable tracks and MixConsole channels by activating their automation write W and read R buttons.

You can create automation curves manually or automatically.

Automation events can be edited much like other events.

Most of the tracks in your project have automation tracks, one for each automated parameter.

For parameter automation, Cubase works either with an initial value or with virgin territory.

The Automation Panel is a floating window, similar to the MixConsole and Transport panel, and can be left open while you work.

When working with Cubase, it is possible to record automation data for MIDI controllers as MIDI part data and as data on an automation track.

The VST instrument control panel allows you to set up the parameters of the selected instrument. The contents, design, and layout of the control panel depend on the selected instrument.

The VST instrument selector allows you to select VST instruments of the active collection.

You can create instrument tracks that hold dedicated VST instruments.

The VST Instruments in the right zone of the Project window allow you to add VST instruments for MIDI and instrument tracks.

The VST Instruments window allows you to add VST instruments for MIDI and instrument tracks.

The VST Instruments window toolbar contains controls that allow you to add and set up VST instruments and VST Quick Controls.

The VST instrument controls allow you to make settings for a loaded VST instrument.

You can load and save presets for instruments. These contain all the settings that are required for the sound that you want.

After you have added a VST instrument and selected a sound, you can play back the VST instrument using the instrument or MIDI track in your project.

The term latency stands for the time it takes for the instrument to produce a sound when you press a key on your MIDI controller. It can be an issue when using VST instruments in real time. Latency depends on your audio hardware and its ASIO driver.

VST Quick Controls allow you to remote-control a VST instrument from within the VST Instruments window.

You can send audio into VST 3 instruments that feature a side-chain input. Side-chaining allows you to use the output of one track to control the action of an instrument on another track.

An external instrument bus is an input (return) to your audio hardware, along with a MIDI connection via Cubase and additional settings.

The VST Plug-in Manager shows the VST effects and VST instruments that are installed on your computer.

You can add new collections of VST effects or VST instruments.

You can hide plug-ins from all collections. This is useful if you have plug-ins installed on your computer that you do not want to use in Cubase.

You can reactivate 64-bit plug-ins that are blacklisted.

You can assign track, effect, and instrument parameters to Quick Controls.

You can use Quick Controls to control all automatable parameters. This allows you to control parameters on other tracks using Quick Controls.

Track Quick Controls become powerful if you use them together with a remote controller.

You can connect your remote device via USB or via MIDI.

To avoid that you accidentally record data from the remote unit when you record MIDI, you must remove the remote input from All MIDI Inputs.

You can write automation using remote devices.

You can assign any Cubase command to which a key command can be assigned to remote devices.

You can use a generic MIDI controller to remote-control almost any function in Cubase. After setting up the Generic Remote device, you can control the specified parameters from the MIDI remote device.

The Remote Control Editor allows you to define your own mapping of VST plug-in parameters to the controls of the supported hardware controllers. This is useful if you think that the automatic mapping of plug-in parameters to remote control devices is not too intuitive.

You can use a joystick to remote-control panning operations in Cubase. This can be useful, for example, for creating smooth automation curves.

Many Apple computers come with an Apple Remote, a small hand-held device that allows you to remotely control specific features in Cubase.

The MIDI track parameters are located in the topmost Inspector section for MIDI and instrument tracks.

MIDI modifiers allow you to modify MIDI events during playback.

MIDI effects allow you to transform the MIDI data played back from the track in real time.

You can edit the transposition and the velocity for selected MIDI parts on the info line. This only affects the notes in playback.

To select a patch, that is, a sound in your MIDI device you must send a program change message to that device.

The Patch Banks list can have two or more main banks, depending on the selected device.

The MIDI Device Manager allows you to install preset MIDI devices or define new ones.

The MIDI Device Manager allows you to build device maps complete with control panels, including all parameters controllable from within Cubase.

The Transpose Setup dialog contains settings for transposing the selected events.

You can merge all MIDI events, apply MIDI modifiers and effects, and generate a new part.

You can separate MIDI events in a part according to channels or pitches and dissolve the part to different tracks or lanes.

You can combine MIDI parts on different lanes to one MIDI part. This is useful if you want to reassemble a drum part that you dissolved to lanes, for example.

You can repeat the MIDI events inside an independent track loop to fill up a MIDI part. This is useful if you want to convert the events of an independent track loop to actual MIDI events.

You can extend MIDI notes so that they reach the next notes.

You can set the length of selected MIDI notes to the Length Quantize value.

You can set the velocity of selected MIDI notes to the Note Insert Velocity value.

You can render sustain pedal data to note lengths. This is useful if you recorded MIDI data with a MIDI keyboard and a sustain pedal, and you want to extend the actual MIDI notes for as long as you held the pedal, in order to edit the notes later.

You can delete overlaps of notes that have the same or different pitches. This is useful if your MIDI instruments cannot handle overlapping events.

You can manipulate the velocity of notes.

You can delete double notes of the same pitch on the exact same position from selected MIDI parts. Double notes can occur when recording in cycle mode, after quantizing, for example.

You can delete controller data from selected MIDI parts.

You can delete continuous controller data from selected MIDI parts.

You can restrict polyphonic voices in selected MIDI notes or parts. This is useful if you have an instrument with limited polyphony and want to make sure all notes are played.

You can thin out controller data in selected MIDI parts. Use this to ease the load on your external MIDI devices if you have recorded very dense controller curves.

You can convert continuous controllers of your recorded MIDI parts into MIDI track automation data, so that you can edit them in the Project window.

You can invert the order of the selected events or of all events in selected part rhythmically. This causes the MIDI to play backwards. However, this is different from reversing an audio recording. The individual MIDI notes still play as usual, but the playback order changes.

This function inverts the order of the selected events, or of all events in the selected parts, graphically. Technically, this function turns a Note On message into a Note Off message and vice versa, which can lead to rhythmic inaccuracies if the Note Off position of a note has not been quantized.

You can create a complete tempo track based on your tapping.

You can use the tools and functions within the MIDI editors to process MIDI parts in various ways.

The Key Editor is the default MIDI editor. It displays notes graphically in a piano roll-style grid. The Key Editor allows for detailed editing of notes and non-note events, such as MIDI controllers.

This section describes the principal editing operations within the Key Editor.

The basic Score Editor is available in Cubase Artist. It shows MIDI notes as a musical score. This offers basic score editing and printing.

This section describes the principal editing operations within the Score Editor.

The Drum Editor is the editor to use when you are editing drum or percussion parts.

This section describes the general editing operations within the Drum Editor.

A drum kit in a MIDI instrument is most often a set of different drum sounds with each sound placed on a separate key. For example, the different sounds are assigned to different MIDI note numbers. One key plays a bass drum sound, another a snare, and so on.

The List Editor shows all events in the selected MIDI parts as a list, allowing you to view and edit their properties numerically. It also allows you to edit SysEx messages.

This section describes the principal editing operations within the List Editor.

The In-Place Editor allows you to edit MIDI notes and controllers directly in the Project window, for quick and efficient editing in context with other tracks.

Musical articulations define how specific notes are sung or performed on a given instrument. They can also define the relative volume of notes or the changes in pitch.

The Expression Map Setup window allows you to load, create, and set up expression maps.

VST note expressions are note-specific. They are suitable for polyphonic contexts, as they allow you to edit the expression of each individual note in a chord.

MIDI controllers are channel-specific, with the exception of poly pressure messages. They affect the entire voice, regardless of whether they are inserted for a part or a note.

The Note Expression Inspector section features most of the functions that you need to work with note expression.

The note expression tools are available on the Key Editor toolbar.

Before you can record VST note expression events with external keyboards, you must map or assign specific MIDI controller messages, or pitchbend and aftertouch, or input movements to expressions.

You can record note expression data together with MIDI notes, or you can record note expression data for existing notes.

The note expression event editor offers various modes for editing and adding note expression events.

You can trim note expression data to automatically match the note length.

You can delete all note expression data from the selected MIDI note or part.

The Note Expression MIDI Setup dialog allows you to specify exactly which MIDI messages are used every time you record MIDI control change messages as note expression data or you convert them.

The chord track allows you to add chord events and scale events.

Chord events are representations of chords that control or transpose playback on MIDI, instrument, and audio tracks (Cubase Pro only).

Scale events inform you which chord events fit in a specific sequence of notes that belong to a specific root note.

Voicings determine how chord events are set up. They define the vertical spacing and order of the pitches in a chord, but also the instrumentation and genre of a musical piece.

You can convert chord events to MIDI for further editing or for printing a lead sheet in the Score Editor.

You can use the chord track to control audio playback (Cubase Pro only) or MIDI playback.

You can transpose MIDI notes to match the voices of a selected voicing library.

You can extract chords from MIDI notes, parts, or tracks. This is useful if you have a MIDI file and want to show its harmonic structure, and use this file as starting point for further experimenting.

You can use a MIDI keyboard to record chord events on the chord track.

The chord pads in the lower zone of the Project window hold all functions that you need to work with chord pads.

The Chord Assistant allows you to use a chord as a starting point for suggestions for the next chord. It assists you in finding the right chords for creating a chord progression for your song.

Some chords are preassigned to the chord pads. But you can also assign your own chords.

You can swap the chord assignments of 2 pads.

You can copy the chord assignment of one pad and paste it on another pad.

You can play back and record chords that are assigned to chord pads using MIDI or instrument tracks.

The Player Setup allows you to select a player and a voicing setting that is typical for that kind of player, and determine if the notes of a chord are played as plain chords, as a pattern, or as sections.

The Chord Pads Setup dialog allows you to change the remote key assignments and the layout of the chord pads.

Chord Pads Presets are templates that can be applied to newly created or to existing chord pads.

You can use the chords assigned to the chord pads to create chord events in the Project window.

You can use the chords assigned to the chord pads to create MIDI parts in the Project window.

The Logical Editor window allows you to combine filter conditions, functions, and actions to perform very powerful MIDI processing.

The upper list is where you set up the filter conditions, determining which elements to find. The list can contain one or several conditions, each on a separate line.

The pop-up menu at the bottom of the Logical Editor is where you select the function, that is, the basic type of editing to be performed.

You can specify actions, that is, changes that are made to the found elements, in the lower list of the Logical Editor. Actions are relevant for all function types except Delete and Select.

Once you have set up filter conditions, selected a function, and set the required actions or loaded a preset, you apply the actions defined with the Logical Editor by clicking the Apply button.

The section in the upper left of the window allows you to load, save and manage Logical Editor presets.

The Project Logical Editor window allows you to combine filter conditions, functions, actions, and macros to perform very powerful processing.

By setting up filter conditions you can determine which filter target, that is, what elements, you want to find.

You can specify actions, that is, changes that are made to the found elements, in the lower list of the Project Logical Editor. Actions are only relevant for the function type Transform.

The left pop-up menu at the bottom of the Project Logical Editor is where you select the function – the basic type of editing to be performed.

In the Macro pop-up menu, you can select a macro that will be executed automatically after completing the actions defined.

Once you have set up filter conditions, selected a function and set the required actions or loaded a preset, you apply the actions defined with the Project Logical Editor by clicking the Apply button.

The section in the upper left section of the window allows you to load, save and manage Project Logical Editor presets.

For every project you can set a tempo mode, depending on whether your music has a fixed tempo or if it changes throughout the project.

The time base of a track determines if a track can follow the tempo changes of a project that is set to tempo track mode.

The Tempo Track Editor provides an overview of the project tempo settings. It allows you to add and edit tempo events.

You can use the tempo track to create tempo changes within a project.

If the tempo track is activated, you can set up tempo changes for your project.

If your music does not contain tempo changes, and the tempo track is deactivated, you can set up a fixed tempo for your project.

The Beat Calculator is a tool for calculating the tempo of freely recorded audio or MIDI material. It also allows you to set the tempo by tapping.

You can detect the tempo of any rhythmic musical content, even if it has not been recorded to a metronome click or if it contains tempo drift.

You can export a tempo track as an XML file to use it in other projects.

You can import a tempo track from another project.

The Process Tempo dialog allows you to set a range to a specific length or to adjust its end time by automatic adjustment of the tempo track.

The Process Bars dialog allows you to insert, delete, replace, or reinterpret the signature events by automatic adjustment of the signature and tempo events.

The Time Warp tool allows you to adjust musical positions of events or parts to time positions.

The Set Definition from Tempo dialog allows you to set up freely recorded audio material to follow a specific tempo.

You can set up one or more time signatures for a project.

The toolbar contains tools and settings for editing in the Project Browser.

The Project Structure allows you to select specific track types for viewing and editing in the event display. Depending on what track type you select, different items can be available in the Project Structure.

The Project Browser event display allows you to view and edit the selected item.

The Render Tracks dialog allows you to customize the track render settings.

You can render selections of audio events and/or MIDI parts with default settings or with customized settings. The Render Selection dialog allows you to customize the selection render settings.

The Channels to Export section of the Export Audio Mixdown dialog contains a list of channels that you can export as an audio mixdown.

The File Type pop-up menu in the Export section allows you to select a format and make additional settings for the mixdown file.

Calling one device the master and another one the slave can lead to confusion. Therefore, the timecode relationship and the machine control relationship must be differentiated in this regard.

The position of any device is most often described using timecode. Timecode represents time using hours, minutes, seconds, and frames to provide a location for each device. Each frame represents a visual film or video frame.

The Project Synchronization Setup dialog provides a central place to configure a complex synchronized system. In addition to settings for timecode sources and machine control settings, project setup parameters are available along with basic transport controls for testing the system.

In a personal music studio, you might want to synchronize with an external recording device such as a portable hard disk recorder used for live remote recordings.

To be able to work with VST System Link, you must first set up the network, configure the audio hardware, and set up the digital audio connections.

You must activate VST System Link on all network computers to be able to work with VST System Link.

VST System Link allows you to split different tasks between 2 or more computers. The following application examples should give you an idea of what is possible.

When working on a project involving a video file, you must make sure that the video file type works on your system.

Cubase supports different video and film frame rates.

Cubase supports several video output devices.

Before you can start working with video in Cubase, some basic preparations must be made.

You can play back imported video files from within Cubase by using the transport controls.

Video events are created automatically when you import a video file.

Open Media Framework Interchange (OMFI) is a platform-independent file format that allows you to transfer digital media between different applications.

The Advanced Authoring Format (AAF) is a multimedia file format that allows you to exchange digital media and metadata between different systems and applications across multiple platforms. Metadata include fades, automation, and processing information.

ReWire is a special protocol for streaming audio between two computer applications.

To use the available ReWire applications on your computer in your project, you must enable them in the ReWire Setup dialog.

When using ReWire, the order in which you launch and quit the two programs is very important.

ReWire supports streaming of up to 256 (Cubase Artist: 128) separate audio channels. The exact number of available ReWire channels depends on the synthesizer application. The ReWire device panels in Cubase allow you to activate the channels that you want to use.

When you activate ReWire channels in the ReWire device panels, they will become available as channels in the MixConsole.

You can add key commands in the Key Commands dialog.

You can search for key commands. This is useful if you want to know which key command is assigned to a certain function in Cubase.

You can set up a combination of several functions or commands to be performed in one go as a macro.

You can save key commands settings as presets.

You can load key commands presets.

You can import key commands settings that you saved with an earlier program version.

The default key commands are arranged in categories.

You can set up tool modifier keys that allow you to get an alternative function when using a tool.

Workspaces in Cubase allow you to organize windows and specific dialogs for your common work routines.

You can customize the appearance of the following elements:

Profiles allow you to save customized program settings and preferences. You can switch between profiles, and import and export your profiles for use on different computers.

This section gives you some hints and tips on how to get the most out of your Cubase system, performance-wise.

The Preferences dialog is divided into a navigation list and a settings page. Clicking one of the entries in the navigation list opens a settings page.

The Event Display section contains several settings for customizing the display in the Project window.

The General page contains general settings that affect the program user interface. Set these according to your preferred work methods.

This page contains settings that affect MIDI recording and playback.

This page contains settings related to audio and MIDI recording.

This page contains options related to playback, recording, and positioning.

This page contains options that allow you to adjust the default user interface colors.

This page contains settings for the VST audio engine.