• Why are there three different mixing boards in Cubase SX?
• How do I create a copy of my project with audio from zero with effects printed on the tracks in Cubase SX?
• How do I create a copy of my project with audio from zero in Cubase SX?
• What is the purpose of the Audition Bus in Cubase SX?
• When should I use Group channels in Cubase SX?
• What's a ReWire channel in Cubase SX?
• What's the easiest way to repeat events in Cubase SX?
• Does Cubase SX allow me to edit multiple audio parts in the same audio editor window?
• What's the best way to archive my Cubase session after I'm finished mixing?
• How do I tell Cubase SX what files I wish to export when I mix?
• Why do the handles in Cubase suddenly push my audio around?
• What does Snap to Zero Crossings mean in Cubase SX?
• How do I make a completely new file (not a copy!) from an Audio Event in the Arrangement Window?
• Once I've grouped events together using the Group function in Cubase SX, can I still edit them individually?
• What's the difference between editing a Range and a Group?
• How do I create "Parts" for Audio and MIDI files in Cubase SX?
• When I create a new project in Cubase SX, I get this dialog box, and I'm not sure about some of the settings. What do they mean?
• I'm confused about parts and events in Cubase SX. What are the differences between the two?
• Is there another way to set the left and right locators instead of dragging them in Cubase SX?

Why are there three different mixing boards in Cubase SX?

The different mixing consoles are best thought of as instances or "views" of the project's console. You can configure one mixer to show basic audio tracks, while another mixer might show group channels, FX channels and ReWire channels. This enables you to keep a better handle on your mix by allowing you to make adjustments to various elements without have to hunt around for them.

If you didn't know it already, when you click on a track in the session window, the track is highlighted and centered in the main mixer, provided you haven't made the track's type invisible in the main mixer window. This is to say: If you've told the main mixer to show only individual tracks and the track you click on is a group track, it won't appear in the main mixer window. You'll have to open the mixer you've assigned to display group tracks, and it should appear in highlighted in the center of that mixer.

On the edges of the mixers, you'll see diamond icons that expand and elongate the view of the faders. Using the faders in the narrow mode can allow you to see more faders at once while still affording much of the broader state's functionality. You can also extend the mixers to show the EQ and input assignments by clicking in the icon at the bottom left of the mixer.

The icon appears as three horizontal lines broken in two places, and it represents the various states of the mixer views. The very top portion will toggle the I/O assignments, and the middle row will toggle the EQ panels. The fader portion of the mixers cannot be turned off.

How do I create a copy of my project with audio from zero with effects printed on the tracks in Cubase SX?

As making files from zero are easy to do with the range tool and Bounce command from the Audio menu, the files will be copies of raw audio data, which is usually what you want when you're making a bounce from zero projects for transfer to another platform.

In some cases, you'll want to provide your effects and EQ settings on the files as a snapshot of how separate files in the final mix in their completely effected state. This could be helpful for many reasons. If you just needed to replace a vocal or one instrument voice, you wouldn't have to go at the mix from the ground up as you would with plain zero files. And if somebody else is taking a whack at producing your mix, they would have the option of hearing where you went with effects and EQ, and perhaps choose to use your treatments in some cases.

In any case, this option is not built into Cubase SX with a key stroke (this feature is on the menu for future releases; users have been requesting the option), but there are several ways to accomplish this task.

The easiest method is to acquire a copy of TapeIt from Silverspike Software. The software is placed in the VST plugins folder and it's selected via the last open rack space in the Insert of each track. To get a complete mix from zero with all effects printed on all tracks, open an instance of TapeIt in each tracks bottom EFX insert, select the correct target file for TapeIt to output new files and play the entire song from start to finish.

TapeIt will create new files from zero in real time, which come complete with your audio effects added on top. Likewise, EFX Tracks can be exported as well. Any Cubase SX track can be copied quickly with TapeIt. If you don't have a copy of TapeIt, you'll need to use the Export command in the File menu and process each track one at a time after setting the Left and Right Locators to the beginning and end of the song. This is time consuming, but it gets the job done.

How do I create a copy of my project with audio from zero in Cubase SX?

Although Cubase SX is a common digital audio program today, archiving copies of your master files in Cubase SX format might not be a good idea for a range of reasons. As software, hardware and archival media changes over the years, the possibility of not being able to restore an arrangement to perfection on future systems increases.

Even today, unless you use Broadcast Wave files, which incorporates time placement code in the files themselves (and this format might vanish over time as well) you need to alter the format of your audio files if you want to take your Cubase SX files to software on another digital workstation like ProTools.

The safest way to make sure your files can be remixed forever on almost any imaginable system is to create new files for each track that begin at zero (or 1.1.1.1; they're commonly called "zero files"). It's important to note that, unless you've created EFX Tracks, or processed new audio tracks with effects included, your effects will be missing if you use the following technique, which is most desirable as adding effects again is easier than removing them if it becomes necessary.

Change the pointer to the Range Tool, which is found in the icons in the middle of top of the Project Window. Select all audio files in the project from beginning to end and use the Bounce command in the Audio Menu. This will create new files for each track from zero (or 1.1.1.1., both the same for these purposes).

To make a copy of these new "zero" files, open the audio folder where your session's audio tracks reside (in Windows or Mac OS) and sort the files by date and size. You'll see your new files at the top of the list; all will have the same file size. Copy these files to a new folder and burn them to DVD. This gives you a copy of the raw audio files that will last as long as the DVD format.

As formats change, all you need to do is copy the raw files to a new folder. In addition, it's a good idea to backup the final Cubase SX session file of your mix, which includes all the loaded plugins and plugin settings, as a secondary archive of your mix.

What is the purpose of the Audition Bus in Cubase SX?

The Audition Bus cannot be removed from Cubase SX. It's used when you're editing audio in the Audio Editor windows and when you audition audio files during the Import Audio procedure. You can use any device ports for it by making assignments in the Studio Tab Dialog box in the VST Connections window via the Device Menu. The bus is also used during real-time exports when you've opted to hear or "audition" the audio as it's being mixed down via the Export command in the Audio Menu. The Audition Bus also comes in handy for 5.1 surround sound users as it monitors the interleaved files in the format.

You can also use separate outputs to edit the audio on the tracks out of the context of a surround mix. If you set the Audition Bus to something other than your primary 5.1 outputs, you can monitor audio for editing without changing volume or pan settings within your mix.

If you want to change the level of the Audition Bus, simply locate the fader, it'll appear next to your Master Stereo Output bus, and make your adjustments. The track carries a standard mute button (check this button first if you're not able to hear audio in the Audio Editor window at any time), and there is a corresponding level fader on the Sample Editor Tool bar.

When should I use Group channels in Cubase SX?

Group channels are especially useful for developing a multi-dimensional character in your mix. If you imagine the various depths of your recording as near, medium, far and distant fields, you can patch different instrument voicings into groups for signal processing that emulates the desired "distance".

Many Cubase users like to put all the drum voices in a group track, all guitar voices in another group track and so forth. This way the entire drum signal can be bumped in either direction without having to futz with 14 different faders. Likewise, big vocal pads, strings and more can be sent to group channels as a submix, which can be adjusted as a whole with one fader.

To create a Group channel in Cubase SX, right-click on any track and select "Add Group Channel Track" from the pop-up menu. After the track appears, you'll notice all audio tracks in the session (with the exception of the Master of course) can be routed to the new group channel via the output setting in each channel's Track Inspector window.

By adding effects to the entire group, the illusion of the voices existing in the same space is accomplished and the overall signal is easily soloed, muted or otherwise adjusted to suit the mix.

What's a ReWire channel in Cubase SX?

ReWire and ReWire 2 are special technologies created by Propellerhead Software and Steinberg, which enable software programs to act as master and slave applications. This means a host application like Cubase SX can run another program like Ableton LIVE as a ReWire channel.

The functionality of LIVE is almost exactly the same as the program in standalone mode, but its playback and timing is slaved to the master clock (or tempo) of Cubase SX. The technology also enables automatic mixing functions for certain programs plus a wealth of MIDI routing and processing capabilities.

To run a ReWire channel in Cubase SX, you need to enable the ReWire routing by selecting the desired device in the Device menu. The ReWire device menu will appear; turn on the channels you'd like to dedicate to the device by clicking the appropriate power buttons on the menu.

Now that you've established end points for the mixer in your session for the output, scroll down the tracks in your project and you'll see the ReWire channel. Click on it and open the mixer to see where the faders appear on the mixing board.

Now launch the program as you normally would. As the program is starting, you should see some text on the software's splash screen like "Starting as ReWire Slave" or "ReWire Slave Mode Enabled". Once the software is open, you'll find it runs in sample-accurate sync with Cubase SX.

Programs like LIVE and ACID are great for working on problematic drum loops. Additionally, the ReWire channel or track works like any other track. It can be muted, soloed and effects can be added.

What's the easiest way to repeat events in Cubase SX?

Click on the audio event you'd like to copy and select "Repeat..." from the Edit menu. A dialog box will appear with setting for the duplication process. If you'd like the copies to be shared copies, that is, all copies will reflect edits made to one of the copies, click the "shared copies" radio button. In most cases, this okay, but you must remember that any destructive editing you do on any of the individual segments will be reflected in all of the shared copies.

If you need to perform a destructive edit on one of the copies, it's best to create a new file by highlighting the copy and selecting "Convert to Real Copy" in the Edit menu. In any event, you'll be prompted to enter the number of repeated events you'd like to create. Enter the number and click Okay. Your events will be pasted across the track(s) of your session.

Multiple events can be duplicated in the same way. In fact, every event in your session can be duplicated across time in the session's arrangement, but this must be done with care. Make sure the events on the first track (or the track at the top of the session window) are vertically snapped to a beat, bar or measure so things don't get confusing.

If an event in the first track needs a bit of the file exposed beyond those parameters, it's probably better to move another track to the top with snapped start times.

The power of digital editing lies within the ability to cut and paste events exactly in time across the song's arrangement, but if you turn the snapping feature off, and you begin to get off the beat, you might find yourself slamming your head in a door somewhere down the road.

You can also copy single events or ranges of events by highlighting the events and using Alt (PC) or Option (Mac) + Shift + click and drag to move the new files anywhere you wish. It's a good idea to make sure snap to grid is engaged before doing this so your new files will snap to the grid when they've found their new home.

Does Cubase SX allow me to edit multiple audio parts in the same audio editor window?

The Sample Editor window does not allow you to edit multiple audio events. This is misleading to many because the Sample Editor window is a completely different from the Audio Part Editor window. The Audio Part Editor is essentially a second layer of the session window, which is made up of a combination of audio events called a "Part".

This can become confusing, but, for clarity's sake, let's say you'd like to edit a segment of your session's drums, Hammond organ and bass in one window. You would lasso the events (or use Shift + click, if the events aren't on adjacent tracks) to tell Cubase which events you'd like to transform into a Part. Once you've selected the audio events, you'd select Events to Part from the Audio menu, and a new Part would be created, which contains the audio events you selected.

By double-clicking on the Part, the Audio Editor will launch with your various events displayed across a range of lanes. From this window, you're supposed to be able to edit the events, and usually this is meant for working with multiple takes to create vocal comp tracks, but since the introduction of lanes for "stacked" or cycled audio within the Session window itself, many feel the Audio Editor window is probably heading the way of the dodo.

Almost certainly, some users have found this editing window useful for something, but it's easy to edit multiple audio events right in the Session window. As in the previous example, if you needed to edit drums, Hammond organ and bass, you'd simply drag the tracks by the title windows until they were next to each other in the session window, set the left and right locators to the range you wish to edit, zoom the window to the proper size and begin editing.

In summary, the Sample Editor only allows editing on one audio event at a time. The Audio Part Editor does allow multiple parts to be edited, but using the session window is probably easier. Stacked or cycled audio parts can be edited in the Session window as well by selecting Stacked from the pop-up menu found at the far left on the Transport window, and then recording your parts. You can edit them by zooming in on the track and changing the pointer to the Mute tool (X) to solo various takes and make your comp.

What's the best way to archive my Cubase session after I'm finished mixing?

When you've completed your mix, you'll probably want to backup all of your session's files to CD for archival purposes. Since the creative recording process usually requires scratch tracks, rough mixes and multiple takes for comp tracks, your project's files probably take up between 10 and 30 times more disk space than the files which actually appear in the mix.

If you decide you don't want to keep a bunch of alternate takes to avoid confusion (some folks wish to keep every morsel from recording sessions; others do not) and save archival space, you'll want to eliminate all unused files and unused portions of files.

Since the archiving process requires some destructive procedures, it's best to copy the entire project to a new folder and create your archive from the new files in case anything goes wrong. But, before you make your complete copy of the session folder, you need to save the current arrangement window as a new file because you'll need to do some housecleaning during the procedure.

Save the session to a new file using Save As from the File menu. If your session contains disabled tracks and muted tracks, which aren't used in the final mix, you'll probably want to delete those to save space. Eliminate all unnecessary tracks and files in the session window. Save the session.

Open the Audio Pool and select Prepare Archive. This operation ensures all session files are located in the project's folder. If files reside outside of the project's folder, this function will make new copies and reference them in the project folder.

It's important to remember that video files are always referenced; video files are never stored in the project folder. Once the archive has been prepared, copy the project file to a new location via Save Project to New Folder in the File menu. This function will allow you to do some housecleaning by eliminating unused audio during the copy process.

Enter the new name for your archived project in the "Save Project to New Folder" dialog box and enable the Minimize Files and Remove Unused boxes. Do not check Freeze Edits. To avoid confusion, quit Cubase, restart the program and open the session file of the new archival project folder you just created. You should be operating safely within a complete copy of your project's original folder with the excess files removed for final backup to CD.

Select Export Audio from the File menu and create a new comparison final mix from this new project and check it against your initial final mix to make sure nothing is missing from the new project folder. If everything is okay, backup the new project folder to archival media. Done!

How do I tell Cubase SX what files I wish to export when I mix?

Cubase SX allows you to export any number of audio tracks, FX tracks, ReWire channels and group tracks into a mixdown file, which is defined in length by the left and right locators. This means all tracks within the range of the left and right locators will be mixed at their current settings.

The most important principle behind the export (or mixdown) function is what you hear is what you get. If a track is muted, it will not be heard in the mixdown file, unless automation is enabled and the track is unmuted via automation during the mix.

Muting tracks via automation isn't the best way to bring tracks in and out; cutting away unnecessary portions of audio files is best because the muted state of the console can become confusing to reset. It's also important to remember that MIDI files will not be included unless they're routed to a VSTi.

If you use MIDI files to drive external sound modules, you'll need to record the audio from the module onto its own track in the session so Cubase SX can include it in the mixdown. When you've decided you're ready to create a mix, set your left and right locators to the beginning and end of the song and make sure all necessary tracks are enabled and not muted.

From the File menu, select Export Audio. A dialog box will appear for adjusting the mixdown's parameters. You'll be asked to create a file path and name for the mixdown file as well as preferences for bit depth, file type and sample rate. You'll also be able to decide if you'd like the new file imported into the session. Once you've made your selections, click SAVE and you should be good to go.

Why do the handles in Cubase suddenly push my audio around?

You've accidentally set the pointer's editing parameters to "moving shifts contents." Locate the button with the pointer symbol on the top of the session window (it's almost right in the middle of the top bar), and click on it. A contextual menu will appear with three selections. You'll see "normal sizing," "sizing moves contents" and "sizing applies time stretch." Select normal sizing, and everything will be back to normal.

If you didn't know it already, the handles that appear when you click on a file in the session window allow you to manipulate the file's amplitude with ease. Clicking on the top handles at the beginning and end points of the file will allow you to drag the handle back into the file to create fading effects. This eliminates the need to automate fades altogether.

Additionally, clicking on the top handle in the center of the file allows you to drag the handle vertically to adjust the overall volume of the entire file. This means no more destructive normalizing if that ever gave you the creeps. Any files that seem a bit low for your fader fields are easily brought right up into the game via these handles.

What does Snap to Zero Crossings mean in Cubase SX?

When you edit audio files (especially when you split them) it's important to make sure the edit occurs in a spot in the file that won't create a pop or click -- a phenomenon that occurs when you've sawed right down the middle of a sound wave. Zero Crossings are tiny points in wave files that allow splits to take place without generating a file that will pop or click every time it plays.

This is especially useful when creating comp tracks of vocals, guitars and just about everything else, because you'll usually be using segments from a collection of takes pasted together into one track of the best performances. In the Editing - Audio Page of the Preferences in the File Menu, you can select the option by clicking in the check box next o Snap to Zero Crossings. The setting affects all audio windows except the Sample Window, which comes with its own Snap to Zero setting in the pull-down menu. Additionally, you should add cross fades to adjacent files to prevent pops by selecting the files in question and using the Crossfade command in the Audio Menu.

How do I make a completely new file (not a copy!) from an Audio Event in the Arrangement Window?

The Duplicate and Bounce commands are confusing to some because duplicating a file seems to indicate that a new file might be created, but you should use the Bounce command when you wish to create a brand new file from an audio clip in the Project Window. Highlight the file(s) you wish to use for the source of your new file by using the Range command, Lasso or Shift + click.

Once all of your files are selected, select Bounce Selection from the Audio Menu. You'll be prompted to choose whether you wish to replace the selected event(s) or not. If you choose to replace the event(s), a new file is created in the Pool and is replaced in the Project Window by the new audio file. If you select "No" at this prompt, the new file will only be accessible via the Audio Pool and the original clip will remain in its current position.

The same holds true with audio "parts," which are a combination of audio events. You'll want to use the Bounce command to create new versions of audio events if you're going to perform destructive edits to just that instance--without making the edits appear in all other instances of the same file. Additionally, all fades you've created with the volume handles on the audio events will be reflected in the new "bounced" version.

Once I've grouped events together using the Group function in Cubase SX, can I still edit them individually?

Most edits made in the Project Window will also affect the other files in the group. If you attempt to resize one event in a group, the other files in the group will be adjusted as well. On audio events, fades will also be reflected across all files in a group. Unless you've locked the events in a group, splitting one event in the group will cause the rest of the files to be divided at the same spot. Likewise, if you choose to mute or delete any event in a group, all other events will reflect the edit.

Groups are especially helpful for dividing arrangement of songs for easy editing. If you create a group from all files used in the verse of your arrangement, you can duplicate new verses with the Alt + click + drag (Option for Mac) copy command without having to pick and choose which files should be included every time you need to make a copy.

Additionally, if you need to create comp files of vocals or solos out of context from the song, you can simply drag a verse or a chorus beyond the end point of the song in the Project Window and reset the Left and Right Locators to loop to the new copy. Here, you can record and edit without worrying about screwing anything up. Grouped events are displayed in the Project Window with a "G" in the upper right hand corner of each file.

What's the difference between editing a Range and a Group?

Ranges and Groups are both useful for applying edits to a collection of files at the same time. However, more than one group (files which have been grouped together with the Group command) can be edited within a Range. In other words, you can edit several "groups" of files at the same time by creating a "range," which includes all the groups. When you select the Range Tool from the tool bar (its icon looks like a dotted outline of a square), you can choose to edit in a variety of ways.

The Select sub menu on the Edit Menu, when Range Tool is selected, offers the following parameters for ranges: All, None, Invert, In Loop, From Start to Cursor, From Cursor to End, All on Selected Tracks, Select Event, Left Selection Side to Cursor and Right Selection Side to Cursor. The All selection defines everything in the project as per the Project settings, while the None simply removes the last range selection. The In Loop range selection is probably the one you'll use the most.

If you double-click on an event with the Range Tool, a range is created that is snapped to the size of that event. You can also use the Shift key to add to that range by clicking on other audio events. Once you've defined your Range, all edits you perform will affect everything in that range. The tool is very effective for using the Bounce command to create mixed files of audio in the range.

How do I create "Parts" for Audio and MIDI files in Cubase SX?

Any grouping of MIDI notes is already a "part" in Cubase SX. This is because Cubase SX defines a MIDI event as any one-note message. However, audio parts can contain several audio events (several drum loops for instance, which would be combined on the same track in the part). It's important to make the distinction when discussing how to make parts.

You can create an empty MIDI part by drawing one in with the Pencil Tool or using the Arrow Pointer with the Alt (Option for Mac) modifying key. By double-clicking on the empty MIDI part, you could then add notes with the pencil tool in the Key Editor, or any of the other MIDI editors.

Similar to creating an empty MIDI part, you can also create an empty audio part by following the same procedure above on a blank Audio Track. You could then add audio events to the part by double-clicking on the part and pasting or dragging events into the editor. Unlike MIDI parts, you can break audio parts back to their original state by clicking on the part and selecting Dissolve Part from the Audio Menu.

When I create a new project in Cubase SX, I get this dialog box, and I'm not sure about some of the settings. What do they mean?

You're referring to the Project Setup Dialog box, which is found in the Project Menu. This is different from other system preferences because it travels with the current project only. However, the settings in the fields default from one project to the next so if you use the same Project Settings all the time, you only need to click OK when this dialog box appears because they should be the same settings as used on your last project.

These settings affect the overall project time, start time, frame rate, display format, display offset, bar offset, sample rate, record format, record file type and stereo pan law. If you're not slaving Cubase SX to an external time source, you shouldn't have to worry about the start time as the straight zeros should do just fine. If you do need an offset start time, you'll know exactly how to set this for sync purposes.

The length of the song has little to do with anything as long as it's long enough to hold your entire song. The Frame Rate also applies to synchronization, and you'll probably know exactly what you need if you need to adjust the frame rate. If you don't need to sync with external sources you needn't worry about this setting.

Display Offset and Bar Offset are also for external sync purposes. The sample rate should read 44.100 kHz unless you know why you want it set to a different sample rate. The Record Format defines the bit depth Cubase SX will use during recording. If your sound card supports 24 bit resolution at the inputs, set this to 24 bit to get the best sound quality. If you feel the 24 bit file size will tax your hard drive (if you've only got one drive in the DAW), you can use 16 bit here and the files will be smaller.

Record file type should probably be WAV or Broadcast Wave File formats. Broadcast Wave files are like regular WAV files, but they contain position information. This is only useful in the event that you will be taking your audio files to a ProTools workstation or other digital mixing platform. It is probably still best to create files from zero for archival purposes because you never know how long file formats will be supported.

The Stereo Pan Law preference allows you to select various power combinations to attenuate signal when tracks are panned all the way to one side. Generally, panning all the way to one side can make the track seem softer than it should be, and you're invited to experiment with -6, - 4.5 and -3dB to see which works best for you.

One important note about bit depth: Make sure you select a bit depth for your project ahead of time and stick with it. It's never a good idea to switch bit depth settings in the middle of a project!

I'm confused about parts and events in Cubase SX. What are the differences between the two?

Events are the foundation of Cubase SX, and many never go beyond using events. If you imagine events as clips of audio (drum loops, for instance), you can see entire projects can be completed with a collection of events across any number of tracks with EQ and other signal processing added, without ever having to combine any of the audio events into what's known as a "part" in Cubase SX. Parts make it easy to combine a collection of events onto one track by highlighting all the events you wish to use in the part, and then selecting Events to Part in the Audio Menu.

Grouping tracks is useful because it allows you to copy a range of audio tracks, and group those parts together by selecting Group from the Edit Menu so they can be quickly dragged around to change the arrangement.

MIDI gets a bit confusing on this issue as a MIDI event can be as small as one MIDI note. Therefore, any container that holds MIDI events is technically considered to be a Part by the folks at Cubase. Like audio events, however, these MIDI parts can be captured in ranges to become components of larger parts for the sake of clarity in the arrangement window.

Is there another way to set the left and right locators instead of dragging them in Cubase SX?

Mastering quick control over the placement of the Left and Right Locators is probably the most important element of speedy editing and recording in Cubase SX. Dragging the Left and Right Locators to outline a region of the arrangement to edit is time consuming. If you use drum loops on your drum track, these can provide a quick and easy reference to small segments in your arrangement.

By highlighting one drum loop with a single click and using the "P" key command (unless you've changed the command to another key), you can instantly set the locators around that segment of time in your arrangement. Once the locators are set, you can use the Split Loop command in the Audio Menu to cut a segment of the exact size from any track in your session.

Sometimes you'll find you're in a highly zoomed mode, and the Left and Right Locators are completely out of the frame. To get them into onto your screen quickly, hold down the Control key and click in the time line (or ruler), and you'll see the Left Locator appear where you clicked.

Use the Alt key (Option key for Mac) and click in the ruler to get the Right Locator on the screen. If you've set your project to snap to the grid for bars or beats, you can now simply drag the locators to the proper position for editing tight areas in your highly zoomed view.