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Figure 1. Always check with the control surface manufacturer to see if a pre-configured setup file already exists, making it easier to simply import these settings into Cubase. M-Audio actually has one setup for this keyboard and Cubase, but I want to show you how you can customize one yourself. Also, check to make sure that your controller is set up correctly to work with Cubase before taking the following steps. If everything checks out, open the Devices menu, select Device Setup, and then select Remote Devices.
Going Pro with Cubase 5 (Book)
Figure 1. Always check with the control surface manufacturer to see if a pre-configured setup file already exists, making it easier to simply import these settings into Cubase. M-Audio actually has one setup for this keyboard and Cubase, but I want to show you how you can customize one yourself.
Also, check to make sure that your controller is set up correctly to work with Cubase before taking the following steps. If everything checks out, open the Devices menu, select Device Setup, and then select Remote Devices. Cubase comes with at least one premade generic remote setup which should be located under Remote Devices , but I want to start with an even more generic remote.
Scroll through the list of controls for Generic Remote 3 and notice that there are 16 Fader controls, 16 Pan controls, 16 Mute controls, and 32 Send controls. If you want to build 8 Going Pro with Cubase 5 Figure 1. Since for this example you only need a total of 32 controls, you can delete the extra controls. To delete, select Fader 10 and then click the Delete button on the right.
Once Fader 10 has been deleted, continue this process deleting Faders 11 to 16, Pan 9 to 16, and Mute 10 to Also delete all the sends except 1 to 6. This should make your setup a little cleaner. Now your Generic Remote 3 is starting to look more and more like an Oxygen 49 remote.
There are five fields besides the name, which will help you fine-tune each of the controls to match the Oxygen Cubase has a special tool for determining what the value of the fields should be, as well as determining the physical address of each of the controls. The Learn tool in Cubase is what determines the address.
By selecting the Learn tool button while you move each Oxygen 49 fader up and down or push each Oxygen 49 button, Cubase will determine the exact address note number of each individual control. With fader 1 selected, move the first fader on the Oxygen 49 keyboard up and down while selecting the Learn tool button with the mouse. Now that you have locked in that fader, you can select the Control Name field for that fader in the Device Setup dialog and name it to match the physical fader.
The names are only there for your reference and have no real significance to the functionality of the remote. Good news! In the bottom half of the Devices Setup dialog, there are four fields next to each control name: To learn more about what each of these fields represents, select the Help button located at the bottom of 10 Going Pro with Cubase 5 the dialog box.
Each control name listed on the bottom is identical to the names listed above. Use the Device field to determine what you wish to control within Cubase for each individual controller. Set Fader 9 to Metronome. Set Mute 9 to Command. And last but not least, set Sends 1 to 6 to Command. Sometimes there are multiple options for the same function in the Device field. You might have to play around with the different options to find the one that works best for your application.
I tried a couple of different options to determine the ones that worked best with the Oxygen Now, in order to see your results as you change the settings in the Device Setup dialog, I recommend opening the Mixer window in Cubase alongside the dialog box so you can watch the virtual controls of the VST mixer move in sync with the physical faders of the Oxygen The Flags field is not applicable to this function.
Now watch your VST mixer faders spring to life as you adjust the faders on the Oxygen Your eight-channel mixer should now be working. Check again with the VST mixer to see that the virtual pan knobs turn as you adjust the knobs on the Oxygen Moving on, set each mute 1—8 to its own audio track 1—8. Now your mutes should be working for tracks 1 through 8. After playing around with this one, I also found that checking No Automation in the Flags field seemed to help, too. I also found that checking Button, Toggle, and No Automation seemed to help things work a little better.
Now your Oxygen 49 is set up to control Cubase see Figure 1. As you can see, setting up these control surfaces is not exactly a plug-and-play operation. Then again, if you require the real hands-on experience, taking the time to get your control surface to work its magic for you could save you bucket loads of work time in the future. Not only is this option affordable, but in many ways it can be a lot more useful than any expensive control surface currently on the market. Organizing Creative Media and the MediaBay As a composer, I have accumulated a huge sample library over the last 10 years.
These days you need a ton of samples at your fingertips in order to stay on the cutting edge and deliver a quality product overnight. Of course, you want to get paid, so you accept the job and start working right away.
You know you have the perfect drum loop somewhere in your catalog, but you have a 2 TB hard drive full of samples. Where do you start looking? Well, this problem is not by any means a new one. Starting with Cubase 4, Steinberg decided to take on this growing issue by adding what they call the MediaBay. The MediaBay not only offers a place to store your sample library, but is also a place to organize every possible media tool that you can use in the music creation process.
No matter how you have organized your files, you can use the MediaBay, but in order for you to make the most of it, you might have to rethink the way you organize. This is no different than filing paperwork in a file cabinet. If it takes you hours to find something in a file cabinet that you yourself organized, you might not have the best organization system. Using the MediaBay is like looking at the contents of your hard drive with a magnifying glass.
For this reason, I recommend first reorganizing your hard drive s in the following manner: If you use samples including loops, instruments, sound effects, and so on , keep them on their own hard drive or at the very least keep them all within one folder. Once you Chapter 1 S harpening Your Cubase 5 B attle Axe 13 have them separated, break them down into categories loops, drums, bass, guitar, sound effects, vocals. Once you have put them into these basic categories, break them down even farther into subcategories rock bass, upright bass, synth bass, fretless bass, and so on.
Use labeled folders within folders to make it as organized as possible. You should probably group the rock and heavy metal guitar samples together and try to break down the acoustic guitar samples into more subfolders, such as jazz acoustic, country acoustic, rock acoustic.
If you use a lot of MIDI files, including those that accompany some sample libraries, they should all be organized in a location separate from your sample library, but using a similar organizational method as discussed with samples. If you compose or produce audio for video, then you should also have a folder or separate hard drive if possible specifically for video files.
Track presets whether for MIDI, audio, or instrument tracks should all be stored in a similar fashion as MIDI files and samples but in their own separate folder. VST presets which include settings for all VST plug-ins, including instruments and processors should all be stored in one place and organized first by type synth, sample player, delay.
Instruments should then be classified into subcategories just as you would organize your sample library. The MediaBay is also capable of opening most audio files and Cubase project files. I keep all my project files on a separate hard drive, which I back up regularly. If you need to look at individual audio tracks within a particular project, you can still use the MediaBay, but you can also use the Pool, which is located under the Media menu. The MediaBay, however, can be very useful in transferring audio files from an old project into a new one.
Figures 1. Both the Loop and Sound Browsers appear to be designed as a little more clutter free when working only with loops or sounds. My goal is to try to teach you the best of the tools.
The most useful benefit to using the MediaBay is in accessing your loop library and being able to audition your loops all at the same tempo and then insert them into the project at the correct tempo! This is a real time-saver for those who use loop libraries. This basic function of the MediaBay is usually understated. My point is, though tagging a library is great, there are many other ways to benefit from using the MediaBay.
Open the MediaBay, and in the Browser section on the left side , locate the folder of the loops you would like to audition. All of these drum loops have been recorded at different tempos bpm, 77 bpm, bpm, and so on.
Instead of having to look for and convert all my beats to bpm, all I have to do is select Play in Project Context located on the Scope , and every beat in the MediaBay window will automatically be time-corrected in real time to bpm, regardless of its original tempo!
Once you find that perfect beat, there are multiple ways to get it into your project. A little blue guideline will appear to help you position the groove where you want it on the audio track. Another easy option is to right-click on the groove you want in the Viewer list and then select Import into Project from the context menu.
You can either insert that groove at the cursor location, at the left locator position, or at the origin. Turn off the Auto Play on the Scope in the MediaBay before you start playing around with your project again, or else you will hear that loop continuously along with your project.
Also, if at any time you would like to hear your loops at their original tempos, you can always deselect Play in Project Context on the Scope.
Keep in mind, though, that in order for Cubase to import the loop at the correct tempo, Play in Project Context must be selected while importing the file. Keep in mind that your loops still need to actually loop correctly. The other thing that I would like to mention is that Cubase is using Musical Mode to get that tempo to match your project. It will also put a little extra load on your computer system to continuously process that loop in real time. There are a couple of ways to do this.
The easiest and I think the best is to select the loop then choose Bounce Selection from the Audio menu. A pop-up window will appear giving you a couple of different time-stretch options. There are several other benefits to using the MediaBay. Although sounds, such as a snare drum or low E on a bass guitar, can be auditioned in the MediaBay, there is no practical use for this most of the time.
Just as with loops and samples, to really make the most out of the MediaBay, make sure that all the VST instrument presets are located in the same place.
You can access your synths from various locations using the MediaBay, but I think you will find more benefits to having them all in one place when browsing through your sound libraries.
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