Cubase Pro - Recording and Mixing

We are introduced to the course and what to expect.

We look at the use of templates to get started found in the Hub.

Overcoming latency issues is key to recording comfortably.

Changing the buffer size and using other options to reduce the strain on your PC.

Utilising ASIO Guard helps keep a PC running smoothly during the recording and mixing process.

Setting Input and Outputs so that the songwriter can hear the recorded results.

A first look at the basic process of recording audio.

Setting audio properties is essential for the best fidelity.

Updating Cubase and its components with the Download Assistant is looked at here.

A look at the UI and how to set it to display functions important to us.

We look at the process of adding a VSTi to a project to add to the sonics of a song.

Here we look at the difference between track and rack VST instruments.

This is the second part of our look at using track and rack VST instruments.

A  quick tip on the best way to unload a running VSTi.

We look at utilising the metronome and how we can adapt it to suit our needs.

Here we use a loop in place of the metronome to allow the performer to record with a more fluent style.

Here we look at the principles of adapting audio loops by time stretching them to fit a fluctuating tempo map.

Here we look at how to add a midi file associated to a VSTi to our constantly increasing tempo track.

We investigate how to adapt VSTi patches from the Inspector and how to quickly swap a VSTi for another.

To conclude this section, we look at the importance of the Inspector.

With a project running that contains midi events, we look at how to convert them to audio tracks.

We now look at making the volume level of quiet audio events louder.

We now look at the convenience of using group and folder tracks.

An explanation of the technique of using two mics to capture a large dynamic range single vocal performance.

Prior to including an audio file in Cubase, it's good practice to 'clean it up' first.

Prior to including a vocal file in Cubase, it's beneficial to 'clean' its imperfections in a dedicated audio restoration program.

Here is how we quickly swap different midi VSTi sounds.

Here's how to visually group together similar tracks.

The detect silence function splits a long audio file into much shorter events where silent parts of the original audio file existed.

Using fades for events ensures a smooth transition from silent areas to the sung parts is achieved.

To give the impression of a faster tempo, switching the drum pattern to a different one can give the illusion of increased pace.

Here we look at how to set up correctly set up drum maps to enable easier editing.

Rather than using the Export function looked at earlier, Render In Plae provides an alternative method of creating audio from midi.

We see how to add specific track control buttons on the track headers.

We use the chord track to work out the chords used in a song.

By using sound loops, it is creative to add a new dimension to a remix.

The process of using sound loops to add a new creative dimension to a remix.

Using the Loop Browser here, we focus on using vocal loops.

By using a third party sample library, you can utilise even more sound loops in to your songs.

By using the audio to midi function,  we can create midi files from audio events.

Utilising a rough recording of drums, we can convert them to pro sounding midi triggers.

Hit points allows for easy audio to midi events.

We investigate the use of quantising.

We create a quantisation groove from an audio file to apply to a midi event.

The sampler track is seen here getting an audio file triggered by a midi note.

Here,  we run different types of drum sounds simultaneously.

We now add percussion loops to the drums.

This is an introductory look at EZDrummer.

Adding simple drum rolls to a beat adds realism.

Adding realistic bass lines to a project is easy with EZBass.

Using fades on a loop adds interest.

By utilising the swing option in the quantise panel, subtle movement can be produced.

By using the Autopan plugin,  we can move the sound across the stereo field with ease.

Here's how to adjust a vocal file to make it sit better with a new drum groove.

We take a first look at Variaudio here.

Setting Variaudio preferences.

A first look at some of the options available with Variaudio.

Here is how to time stretch individual vocal notes.

This is how to freely adapt audio so it plays earlier or later within an event.

Here is how the inspector options relate to specific tracks.

A look at how the channel strip works for each audio track.

Reducing the low end frequencies with the EQ can clean up a muddy vocal file.

Using the equaliser, we can focus on specific overlapping frequencies between chosen tracks to help make them sit better together.

Here, we see how to use Frequency 2 to adapt the EQ of the stereo field, or the mid and side frequencies independently.

This is how to implement equalisation to an audio file triggered by another audio file.

This is how we should set up our audio track levels prior to any processing.

Using single band compression reduces the dynamic range of an audio file across its frequency spectrum.

Multiband compression gives extra control over multiple bands when compressing a signal.

We look at a manual, more natural sounding alternative to compression here.

By using 'upward compression' - or expansion - we can raise the level of the quietest parts of the vocal without affecting the loudest parts.

Here is a look at using presets  and what to be aware about.

Utilising multiple insert effects to get a flattering vocal sound.

Insert and send effects are different. Here's how.

Using insert effects on individual drum components can work well.

Here, we set up a group track to utilise one effect across multiple audio files.

Adding reverb can pose problems with a busy mix. This is how to cure it.

Creating a low-fi beat is remarkably easy with Groove Agent.

Here we use the chord track to trigger a VSTi utilising chords we stipulate.

The chord track can be used to create multiple audio files from different VSTi's.

Adding a funk bass line and claps adds extra groove.

Drenched reverb can be used to great effect when fades are applied.

When you have a finished mix that ypu want to make louder, use Raiser.

Here's how to add prerecorded samples -such as vocal and sax - to a project.

We take a very brief look at the mixer here in anticipation of a future Cubase course devoted solely to that function.

We look at the new Cubase 13 hub here.

There is a new way to colour code tracks. Here's how.

Here's an introduction to the new VocalChain plugin.

We now look at the updated mixer view.

The black valve compressor is new to Cubase Pro 13.

A quick new feature is the mono to stereo to mono button.

The new VoxComp plugin makes adding compression easy.

The range tool has now bee added to the editor view.

Here, we will look at the way the Cubase 14 mix console has slightly changed from previous versions. Additionally, we'll look at how using the snapshot mode allows for quick and easy access to different mixes of the same project.

With the Cubase 14.20 update, we can now hide the MixConsole faders if desired.

This is how we can now reorder tracks in the MixConsole.

An explanation of potential track reordering issues when using the MixConsole.

This is how we add modulation to bland sounding synth patches.

This is how to use the Volume insert plugin.

Here is a quick way to access the colour pallet required to change track colours.

Cubase 14 has added a new way of adding drum grooves.

The new drum track allows you to add audio samples too.

Loading supplied Drum Machine presets makes using the module easier and faster.

Linking the Drum Machine to sequences.

This is how to export Cubase markers to a resulting file that opens in Wavelab.

This is how to use the new shimmer plug in.

This is how to mirror the timing of one audio file to the timing of another.