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The Resource Mixing and mastering with Cubase, Matthew Loel T. Hepworth

Mixing and mastering with Cubase, Matthew Loel T. Hepworth

Label
Mixing and mastering with Cubase
Title
Mixing and mastering with Cubase
Statement of responsibility
Matthew Loel T. Hepworth
Creator
Subject
Language
eng
Cataloging source
DLC
http://library.link/vocab/creatorName
Hepworth, Matthew Loel T
Illustrations
illustrations
Index
index present
Literary form
non fiction
Series statement
Quick pro guides
http://library.link/vocab/subjectName
Digital audio editors
Label
Mixing and mastering with Cubase, Matthew Loel T. Hepworth
Instantiates
Publication
Note
Includes index
Accompanying material
1 DVD-ROM (4 3/4 in.)
Contents
  • Tool Behavior and the Snap Settings
  • The Note Display
  • Acoustic Feedback
  • The Keyboard
  • A Closer Look at the Event Display and Controller Lane
  • Editing with the Info Line
  • Editing MIDI Note Velocity
  • Velocity in the Note Display
  • Velocity in the Controller Lane
  • Drawing Velocity Values with the Line Tool
  • Editing Controllers in the Controller Lane
  • Temporarily Disabling Snap
  • Selecting the MIDI Controllers to Edit
  • The In-Place Editor to Edit MIDI Data
  • Using the In-Place Editor
  • Other MIDI Editing Commands
  • Dissolve Part
  • Velocity
  • Delete Aftertouch
  • Filtering Aftertouch
  • Exploring More MIDI Edits for Yourself
  • ch. 4
  • Using the Tools
  • Editing Audio Data
  • Nondestructive and Destructive Editing
  • Examples of Destructive Editing
  • Cubase Is a Nondestructive Audio Editor
  • Offline and Online Processing
  • Using the Audio Event Handles
  • Revealing the Handles
  • Using the Volume Handle
  • Using the Fade Handles
  • Adjusting the Handles in the Info Line
  • Object Selection Tool (Normal Sizing Mode)
  • Editing the Audio Event Envelope
  • Drawing the Envelope
  • Crossfading Audio Events
  • Setting Up the Crossfade Scenario
  • How Pops and Other Anomalies Occur
  • How Clumsy-Sounding Edits Occur
  • Setting Up the Crossfade
  • Overlapping the Events
  • Executing the Crossfade
  • Editing the Crossfade
  • Object Selection with the Shift Key
  • Pitch and Time Correction with VariAudio
  • Pitch Correction Requirements
  • Opening VariAudio in the Sample Editor
  • Using the Pitch & Warp Tool
  • Altering the Micro-Pitch Tilt
  • Straightening the Pitch
  • Adjusting Segment Start, Stop, and Length
  • Using the Segments Tool
  • Selecting a Segment
  • Making the Splits
  • Making Drag Copies
  • Making Multisegment VariAudio Edits
  • Creating the "Auto-Tune" Effect
  • Beyond Pitch & Warp Editing
  • ch. 5
  • Drum Quantizing and Group Editing
  • Multitrack Audio Drum Quantization
  • Listening to the Drum Audio Quantize Project
  • When You Can Use Multitrack Audio Quantization
  • Tracks You Cannot Multitrack Quantize
  • Creating a Folder Track
  • Resizing Events
  • Moving Tracks into a Folder Track
  • Closing and Opening the Folder Track
  • Another Method for Creating Folder Tracks
  • Analyzing Hitpoints
  • Analyzing the Kick Track for Hitpoints
  • Adjusting the Threshold
  • Analyzing Hitpoints on the Snare and OH_R Events
  • Group Editing
  • All Events Must Be Selected
  • Other Group Editing Situations
  • Making Event Repeats
  • The Quantization Process
  • Making Slices
  • Quantizing the Slices
  • Crossfading the Slices
  • Tempo Detection
  • Tempo Detection on a Multitrack Project
  • Choosing a Track for Tempo Detection
  • Analyzing the Tempo
  • The Tempo Track
  • The Divide and Multiply Buttons
  • Making Shared Event Repeats
  • The Time Signature Track
  • Getting into the Mix
  • ch. 6
  • The Art of Mixing
  • A Word About Buffer Settings
  • The "Big Three" Actions for a Professional Mix
  • Action 1
  • Controlling Loudness with Volume
  • Action 2
  • Controlling Direction with Pan
  • Other Object Selection Tool Modes
  • Ideas for Pan Control Settings
  • Action 3
  • Controlling Focus with EQ
  • Introduction to the Cubase Mixer Controls
  • The Mixer and the Inspector
  • The VST Channel Settings
  • The Cubase Mixer
  • The Basic or Fader Mixer View
  • The Extended Mixer View
  • The Routing Mixer View
  • Machine generated contents note:
  • Range Selection Tool
  • Going Big with the Mixer View
  • Track Order and Appearance in the Mixer
  • Track Types and the Extended Mixer View
  • The Cubase Signal Flow
  • Classic Mixer Signal Flow
  • Signal Flow of the VST Channel Settings Window
  • Signal Flow in the Mixer
  • The Method and Madness of the Classic Signal Flow
  • Inserts
  • EQ
  • Other Range Selection Procedures
  • Channel Fader and Pan Control
  • Getting into the Mix
  • Taking a Listen
  • Creating a Group Channel Track
  • Applying the "Big Three" Mixing Actions
  • Adjusting Loudness with Channel Faders
  • Activating More VST Instrument Output Channels
  • Adjusting Direction with the Pan Controls
  • Adjusting Focus with EQ
  • Mix On, d'Artagnan
  • Split Tool
  • ch. 7
  • Effects: Inserts, Sends, and FX Channels
  • The Concept and History of Plug-ins
  • Effect and Plug-in Placement and Classification
  • The Differences Between Dry and Wet Signals
  • Plug-in Effects on Inserts and Sends
  • Examples of Insert Effects
  • Modulation Effects
  • Examples of Send Effects
  • Assigning Plug-ins to Inserts
  • Other Split Procedures
  • Assigning a Compressor to the Q-Stick Channel
  • A Primer on Compressors
  • Auditioning the "Before and After"
  • Recalling the Plug-in Control Panel
  • Assigning a Compressor to the Vox Channel
  • Assigning a Chorus to the Bass Channel
  • Reordering the Inserts
  • Reordering and Copying Inserts in the Extended Mixer View
  • Using Sends and FX Channel Tracks
  • Creating an FX Channel Track
  • Glue Tool
  • Assigning Sends to FX Channel Tracks
  • Assigning and Adjusting Sends on Soloed Tracks
  • Assigning Other Channels to the FX Channel Track
  • Creating Another FX Channel Track and Plug-in
  • The Insert, EQ, and Sends Bypass Buttons
  • Taking a Moment to Look (Listen) Back
  • ch. 8
  • Mastering and Audio Mixdown
  • The Dark Art of Mastering
  • The Definition of Mastering
  • Other Glue Procedures
  • Broad Treatments
  • Matching to Other Mixes of the Same Genre
  • Mastering Your Mixes as a Collection
  • What to Expect from This Section
  • Matt's Three-Adjective Approach to Mastering
  • Punchy Equals Compression
  • Shiny Equals EQ
  • LOUD Equals Limiting
  • Contemporary Mastering and the Loudness War
  • Comparing the Evolution of Loudness
  • Erase Tool
  • Daring to Be Different
  • The March Toward the Master Fader
  • Examining the Master Fader
  • Adjusting the Master Fader Level
  • Peak Meter Value
  • Clip Indicators
  • Adjusting the Master Fader for Optimal Audio Mixdown Level
  • The Importance of Setting the Master Fader Prior to Mastering
  • Applying the Mastering Plug-ins
  • Keeping Your Ears Honest
  • Other Erase Procedures
  • A Word About Headphones
  • Using the MultibandCompressor
  • The Operation of the MultibandCompressor
  • Auditioning MultibandCompressor Presets
  • Using the Master Fader EQ
  • Adjusting the EQ Parameters
  • Using the Maximizer
  • Take a Moment to Listen and Save
  • Exporting the Audio Mixdown, Times Three
  • Setting the Left and Right Locators
  • Zoom Tool
  • Mixdown #1
  • High Bit Rate with No Mastering
  • Mixdown #2
  • Audio CD-Compatible with Mastering
  • Using the Apogee UV22HR Dithering Plug-in
  • Proceeding with the Mixdown
  • Mixdown #3
  • MP3 Version
  • Examining the Results
  • Optional Mixdown #4: High Bit Rate with Mastering
  • Mute Tool
  • Backing Up Your Work
  • The Concept of Onsite and Offsite Backup
  • Moving Forward
  • Appendix A
  • Using the Included Disc
  • Copying the Files to Your Computer
  • Cubase Projects
  • A Word About the Audio Tracks
  • Appendix B
  • A Primer on Automation
  • ch. 1
  • Other Mute Procedures
  • The Concept of Automation
  • The Read and Write Enable Buttons
  • The Automation Tracks
  • Using the Data Selector
  • Creating and Editing Automation Data --
  • Time Warp Tool
  • Draw Tool
  • Line Tool
  • Play Tool
  • Play Tool in Play Mode
  • Play Tool in Scrub Mode
  • Color Tool
  • Other Color Tool Procedures
  • The Status, Info, and Overview Lines
  • Editing in the Project Window
  • The Location of the Lines
  • The Status Line
  • The Project Setup Window
  • The Info Line
  • Info Line Data Common to MIDI and Audio Events
  • Info Line Data for MIDI Events
  • Info Line Data for Audio Events
  • Editing the Info Line Values
  • Editing Multiple Selected Events
  • The Overview Line
  • More Than Cut, Copy, and Paste
  • Zooming Techniques and the Event Display
  • Horizontal Zoom
  • Zooming with the Overview Line
  • Vertical Zoom
  • Zooming Track Heights
  • Zoom Commands and Their Key Commands
  • Additional Zoom Commands
  • Event Zoom
  • Advanced Behaviors of the Event Display
  • ch. 2
  • Basics for Cut, Copy, and Paste
  • Comping and Overlapping Events
  • Understanding Event Overlaps
  • Exploring the "Overlaps R01" Project
  • Identifying Event Overlaps
  • Overlapping MIDI Events
  • When Overlapping MIDI Won't Work
  • Overlapping Audio Events
  • Handling Audio Event Overlaps
  • Using the "Move to" Commands
  • Merging Overlaps with the Glue Tool
  • Exploring the Toolbar
  • Comping
  • A Brief History of Multitrack Audio Compositing
  • Cubase Introduces Comping
  • Recording Audio Tracks for Comping
  • Revealing the Comping Lanes
  • Auditioning and Choosing Takes
  • Editing the Takes Within the Comping Lanes
  • Editing Comping Events by Resizing
  • Editing Comping Events with the Split Tool
  • Other Comping Techniques
  • Locating the Toolbar
  • ch. 3
  • Editing MIDI and Instrument Data
  • MIDI Data in Cubase
  • A Brief MIDI Primer
  • MIDI Note Data
  • MIDI Continuous Controllers
  • Other Commonly Used MIDI Data Types
  • MIDI Editing in the Event Display
  • Quantizing MIDI Events
  • Quantizing Multiple MIDI Events on Multiple Tracks
  • Selecting the Tools
  • Quantizing Multiple MIDI Events on a Single Track
  • Perfection Is Boring
  • Raising Your iQ
  • The Quantize Panel
  • Transposing MIDI Events
  • Transpose in the Info Line
  • Using the Transpose Setup Window
  • Don't Transpose Drum Kit Events
  • Using the Key Editor to Edit MIDI Data
  • The Key Editor
  • Adjusting the Buffer
  • Activating the Steinberg Audio Power Scheme (Windows Only)
  • Contents note continued:
  • Creating Simple Automation Data
  • Creating Complex Automation with the Draw and Line Tools
  • Experimenting with Automation
  • Appendix C
  • Managing Audio Interface Buffer Settings
  • The Simple Rule for Determining Buffer Size
  • Control Panel Settings (Including Latency)
Control code
ocn793213954
Dimensions
28 cm. +
Dimensions
4 3/4 in. or 12 cm.
Extent
xvii, 143 p.
Isbn
9781458413673
Lccn
2012017845
Other physical details
ill.
Specific material designation
optical disk
System control number
(OCoLC)793213954
Label
Mixing and mastering with Cubase, Matthew Loel T. Hepworth
Publication
Note
Includes index
Accompanying material
1 DVD-ROM (4 3/4 in.)
Contents
  • Tool Behavior and the Snap Settings
  • The Note Display
  • Acoustic Feedback
  • The Keyboard
  • A Closer Look at the Event Display and Controller Lane
  • Editing with the Info Line
  • Editing MIDI Note Velocity
  • Velocity in the Note Display
  • Velocity in the Controller Lane
  • Drawing Velocity Values with the Line Tool
  • Editing Controllers in the Controller Lane
  • Temporarily Disabling Snap
  • Selecting the MIDI Controllers to Edit
  • The In-Place Editor to Edit MIDI Data
  • Using the In-Place Editor
  • Other MIDI Editing Commands
  • Dissolve Part
  • Velocity
  • Delete Aftertouch
  • Filtering Aftertouch
  • Exploring More MIDI Edits for Yourself
  • ch. 4
  • Using the Tools
  • Editing Audio Data
  • Nondestructive and Destructive Editing
  • Examples of Destructive Editing
  • Cubase Is a Nondestructive Audio Editor
  • Offline and Online Processing
  • Using the Audio Event Handles
  • Revealing the Handles
  • Using the Volume Handle
  • Using the Fade Handles
  • Adjusting the Handles in the Info Line
  • Object Selection Tool (Normal Sizing Mode)
  • Editing the Audio Event Envelope
  • Drawing the Envelope
  • Crossfading Audio Events
  • Setting Up the Crossfade Scenario
  • How Pops and Other Anomalies Occur
  • How Clumsy-Sounding Edits Occur
  • Setting Up the Crossfade
  • Overlapping the Events
  • Executing the Crossfade
  • Editing the Crossfade
  • Object Selection with the Shift Key
  • Pitch and Time Correction with VariAudio
  • Pitch Correction Requirements
  • Opening VariAudio in the Sample Editor
  • Using the Pitch & Warp Tool
  • Altering the Micro-Pitch Tilt
  • Straightening the Pitch
  • Adjusting Segment Start, Stop, and Length
  • Using the Segments Tool
  • Selecting a Segment
  • Making the Splits
  • Making Drag Copies
  • Making Multisegment VariAudio Edits
  • Creating the "Auto-Tune" Effect
  • Beyond Pitch & Warp Editing
  • ch. 5
  • Drum Quantizing and Group Editing
  • Multitrack Audio Drum Quantization
  • Listening to the Drum Audio Quantize Project
  • When You Can Use Multitrack Audio Quantization
  • Tracks You Cannot Multitrack Quantize
  • Creating a Folder Track
  • Resizing Events
  • Moving Tracks into a Folder Track
  • Closing and Opening the Folder Track
  • Another Method for Creating Folder Tracks
  • Analyzing Hitpoints
  • Analyzing the Kick Track for Hitpoints
  • Adjusting the Threshold
  • Analyzing Hitpoints on the Snare and OH_R Events
  • Group Editing
  • All Events Must Be Selected
  • Other Group Editing Situations
  • Making Event Repeats
  • The Quantization Process
  • Making Slices
  • Quantizing the Slices
  • Crossfading the Slices
  • Tempo Detection
  • Tempo Detection on a Multitrack Project
  • Choosing a Track for Tempo Detection
  • Analyzing the Tempo
  • The Tempo Track
  • The Divide and Multiply Buttons
  • Making Shared Event Repeats
  • The Time Signature Track
  • Getting into the Mix
  • ch. 6
  • The Art of Mixing
  • A Word About Buffer Settings
  • The "Big Three" Actions for a Professional Mix
  • Action 1
  • Controlling Loudness with Volume
  • Action 2
  • Controlling Direction with Pan
  • Other Object Selection Tool Modes
  • Ideas for Pan Control Settings
  • Action 3
  • Controlling Focus with EQ
  • Introduction to the Cubase Mixer Controls
  • The Mixer and the Inspector
  • The VST Channel Settings
  • The Cubase Mixer
  • The Basic or Fader Mixer View
  • The Extended Mixer View
  • The Routing Mixer View
  • Machine generated contents note:
  • Range Selection Tool
  • Going Big with the Mixer View
  • Track Order and Appearance in the Mixer
  • Track Types and the Extended Mixer View
  • The Cubase Signal Flow
  • Classic Mixer Signal Flow
  • Signal Flow of the VST Channel Settings Window
  • Signal Flow in the Mixer
  • The Method and Madness of the Classic Signal Flow
  • Inserts
  • EQ
  • Other Range Selection Procedures
  • Channel Fader and Pan Control
  • Getting into the Mix
  • Taking a Listen
  • Creating a Group Channel Track
  • Applying the "Big Three" Mixing Actions
  • Adjusting Loudness with Channel Faders
  • Activating More VST Instrument Output Channels
  • Adjusting Direction with the Pan Controls
  • Adjusting Focus with EQ
  • Mix On, d'Artagnan
  • Split Tool
  • ch. 7
  • Effects: Inserts, Sends, and FX Channels
  • The Concept and History of Plug-ins
  • Effect and Plug-in Placement and Classification
  • The Differences Between Dry and Wet Signals
  • Plug-in Effects on Inserts and Sends
  • Examples of Insert Effects
  • Modulation Effects
  • Examples of Send Effects
  • Assigning Plug-ins to Inserts
  • Other Split Procedures
  • Assigning a Compressor to the Q-Stick Channel
  • A Primer on Compressors
  • Auditioning the "Before and After"
  • Recalling the Plug-in Control Panel
  • Assigning a Compressor to the Vox Channel
  • Assigning a Chorus to the Bass Channel
  • Reordering the Inserts
  • Reordering and Copying Inserts in the Extended Mixer View
  • Using Sends and FX Channel Tracks
  • Creating an FX Channel Track
  • Glue Tool
  • Assigning Sends to FX Channel Tracks
  • Assigning and Adjusting Sends on Soloed Tracks
  • Assigning Other Channels to the FX Channel Track
  • Creating Another FX Channel Track and Plug-in
  • The Insert, EQ, and Sends Bypass Buttons
  • Taking a Moment to Look (Listen) Back
  • ch. 8
  • Mastering and Audio Mixdown
  • The Dark Art of Mastering
  • The Definition of Mastering
  • Other Glue Procedures
  • Broad Treatments
  • Matching to Other Mixes of the Same Genre
  • Mastering Your Mixes as a Collection
  • What to Expect from This Section
  • Matt's Three-Adjective Approach to Mastering
  • Punchy Equals Compression
  • Shiny Equals EQ
  • LOUD Equals Limiting
  • Contemporary Mastering and the Loudness War
  • Comparing the Evolution of Loudness
  • Erase Tool
  • Daring to Be Different
  • The March Toward the Master Fader
  • Examining the Master Fader
  • Adjusting the Master Fader Level
  • Peak Meter Value
  • Clip Indicators
  • Adjusting the Master Fader for Optimal Audio Mixdown Level
  • The Importance of Setting the Master Fader Prior to Mastering
  • Applying the Mastering Plug-ins
  • Keeping Your Ears Honest
  • Other Erase Procedures
  • A Word About Headphones
  • Using the MultibandCompressor
  • The Operation of the MultibandCompressor
  • Auditioning MultibandCompressor Presets
  • Using the Master Fader EQ
  • Adjusting the EQ Parameters
  • Using the Maximizer
  • Take a Moment to Listen and Save
  • Exporting the Audio Mixdown, Times Three
  • Setting the Left and Right Locators
  • Zoom Tool
  • Mixdown #1
  • High Bit Rate with No Mastering
  • Mixdown #2
  • Audio CD-Compatible with Mastering
  • Using the Apogee UV22HR Dithering Plug-in
  • Proceeding with the Mixdown
  • Mixdown #3
  • MP3 Version
  • Examining the Results
  • Optional Mixdown #4: High Bit Rate with Mastering
  • Mute Tool
  • Backing Up Your Work
  • The Concept of Onsite and Offsite Backup
  • Moving Forward
  • Appendix A
  • Using the Included Disc
  • Copying the Files to Your Computer
  • Cubase Projects
  • A Word About the Audio Tracks
  • Appendix B
  • A Primer on Automation
  • ch. 1
  • Other Mute Procedures
  • The Concept of Automation
  • The Read and Write Enable Buttons
  • The Automation Tracks
  • Using the Data Selector
  • Creating and Editing Automation Data --
  • Time Warp Tool
  • Draw Tool
  • Line Tool
  • Play Tool
  • Play Tool in Play Mode
  • Play Tool in Scrub Mode
  • Color Tool
  • Other Color Tool Procedures
  • The Status, Info, and Overview Lines
  • Editing in the Project Window
  • The Location of the Lines
  • The Status Line
  • The Project Setup Window
  • The Info Line
  • Info Line Data Common to MIDI and Audio Events
  • Info Line Data for MIDI Events
  • Info Line Data for Audio Events
  • Editing the Info Line Values
  • Editing Multiple Selected Events
  • The Overview Line
  • More Than Cut, Copy, and Paste
  • Zooming Techniques and the Event Display
  • Horizontal Zoom
  • Zooming with the Overview Line
  • Vertical Zoom
  • Zooming Track Heights
  • Zoom Commands and Their Key Commands
  • Additional Zoom Commands
  • Event Zoom
  • Advanced Behaviors of the Event Display
  • ch. 2
  • Basics for Cut, Copy, and Paste
  • Comping and Overlapping Events
  • Understanding Event Overlaps
  • Exploring the "Overlaps R01" Project
  • Identifying Event Overlaps
  • Overlapping MIDI Events
  • When Overlapping MIDI Won't Work
  • Overlapping Audio Events
  • Handling Audio Event Overlaps
  • Using the "Move to" Commands
  • Merging Overlaps with the Glue Tool
  • Exploring the Toolbar
  • Comping
  • A Brief History of Multitrack Audio Compositing
  • Cubase Introduces Comping
  • Recording Audio Tracks for Comping
  • Revealing the Comping Lanes
  • Auditioning and Choosing Takes
  • Editing the Takes Within the Comping Lanes
  • Editing Comping Events by Resizing
  • Editing Comping Events with the Split Tool
  • Other Comping Techniques
  • Locating the Toolbar
  • ch. 3
  • Editing MIDI and Instrument Data
  • MIDI Data in Cubase
  • A Brief MIDI Primer
  • MIDI Note Data
  • MIDI Continuous Controllers
  • Other Commonly Used MIDI Data Types
  • MIDI Editing in the Event Display
  • Quantizing MIDI Events
  • Quantizing Multiple MIDI Events on Multiple Tracks
  • Selecting the Tools
  • Quantizing Multiple MIDI Events on a Single Track
  • Perfection Is Boring
  • Raising Your iQ
  • The Quantize Panel
  • Transposing MIDI Events
  • Transpose in the Info Line
  • Using the Transpose Setup Window
  • Don't Transpose Drum Kit Events
  • Using the Key Editor to Edit MIDI Data
  • The Key Editor
  • Adjusting the Buffer
  • Activating the Steinberg Audio Power Scheme (Windows Only)
  • Contents note continued:
  • Creating Simple Automation Data
  • Creating Complex Automation with the Draw and Line Tools
  • Experimenting with Automation
  • Appendix C
  • Managing Audio Interface Buffer Settings
  • The Simple Rule for Determining Buffer Size
  • Control Panel Settings (Including Latency)
Control code
ocn793213954
Dimensions
28 cm. +
Dimensions
4 3/4 in. or 12 cm.
Extent
xvii, 143 p.
Isbn
9781458413673
Lccn
2012017845
Other physical details
ill.
Specific material designation
optical disk
System control number
(OCoLC)793213954

Library Locations

    • Wellington LibraryBorrow it
      Wellington- Massey University Library, Block 5, 63 Wallace Street, Wellington, 6021, NZ
      -40.385395 175.617407
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