Steinberg Cubase 6 Manual

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The Mixer
Channel view sets
Channel view sets are saved configurations of the Mixer 
window, allowing you to quickly switch between different 
layouts for the Mixer. The following settings are stored in 
view sets:
• Settings for individual channel strips (e. g. narrow or wide 
mode and whether the channel strip is hidden or set to “Can 
Hide”).
• The global hide/show status for channel types.
• The panel hide/show status (fader panel, extended panel, 
routing panel).
• Configuration of the extended view.
To create a view set, proceed as follows:
1.Set up the Mixer configuration that you want to save.
2.At the bottom of the common panel, click the “Store 
View Set” button (the “+” sign).
3.A dialog opens, allowing you to enter a name for the 
view set.
4.Click OK to store the current Mixer view set.
•You can now return to this stored configuration at any 
time by clicking the “Select Channel View Set” button (the 
down arrow to the left of the “Store View Set” button) and 
selecting it from the pop-up menu.
•To remove a stored channel view set, select it and click 
the “Remove View Set” button (the “-” sign).
Setting the width of channel strips
Each channel strip can be set to either “Wide” or “Nar-
row” mode by using the “Channel Narrow/Wide” button 
on the left above the fader strip.
•Narrow channel strips contain a narrow fader, miniature 
buttons, and the View Options pop-up menu.
In the extended panel, only the Channel Overview and the Meter are 
shown in narrow mode. (All other parameters are shown again when you 
return to wide mode.) 
A wide and a narrow channel strip
•If you select “All targets narrow” or “All targets wide” on 
the common panel, all channel strips selected as com
-
mand targets (see “About the Command Target” on page 
150) are affected.
The Window submenu
The Mixer context menu, opened by right-clicking any-
where on the Mixer window background, contains a Win-
dow submenu. Its options are handy for quickly switching 
to another open Mixer window, showing/hiding the differ
-
ent Mixer panes, etc. It contains the following options:
•Show Routing View
Allows you to show/hide the topmost section of the Mixer which contains 
the input/output routing settings.
•Show Extended View
Allows you to show/hide the middle section of the Mixer, where you can 
display different settings for the channels (EQs, Send effects, etc.).
•Next Mixer
This displays the next Mixer window (if you have several Mixer windows 
open).
!Some remote control devices support this function, 
which means that you can use the remote device to 
switch between the channel view sets. 
						

							152
The Mixer
Basic mixing procedures
Setting volume in the Mixer
In the Mixer, each channel strip has a volume fader. 
•For audio channels, the faders control the volume of the 
channels before they are routed (directly or via a group 
channel) to an output bus.
Cubase only: Each channel can in turn handle up to 6 speaker channels 
– see the chapter 
“Surround sound (Cubase only)” on page 217. 
•An output channel fader determines the master output 
level of all audio channels routed to that output bus.
•MIDI channels handle fader volume changes in the 
Mixer by sending out MIDI volume messages to the con
-
nected instrument(s).
Connected instruments must be set to respond to MIDI messages (such 
as MIDI volume in this case) for this to function properly.
•The fader settings are displayed numerically below the 
faders, in dB for audio-related channels and as MIDI vol
-
ume (0 to 127) for MIDI channels.
You can click in the fader value fields and type in a new volume value.
•To make fine volume adjustments, hold down [Shift] 
when you move the faders.
•If you hold down [Ctrl]/[Command] and click on a fader, 
it is reset to its default value, i.
 e. to 0.0 dB for audio-re-
lated channels, or to 100 for MIDI channels.
Most Mixer parameters can be reset to their default values like this.
You can use the faders to set up a volume balance be-
tween the audio and MIDI channels, and perform a manual 
mix by moving the faders and other controls while playing 
back. Using the Write function (see 
“Enabling and dis-
abling the writing of automation data” on page 228), you 
can automate the levels and most Mixer actions.
About the level meters for audio channels
When playing back audio in Cubase, the level meters in 
the Mixer show the level of each audio channel.
•Directly below the level meter is a small level readout – 
this shows the highest registered level in the signal.
Click this to reset the peak levels.
•Peak levels can also be shown as static horizontal lines 
in the meter, see 
“Changing the meter characteristics” on 
page 162.
ÖCubase uses 32 bit floating point processing inter-
nally, so there is virtually limitless headroom – signals can 
go way beyond 0
 dB without clipping. Having higher levels 
than 0
 dB for individual audio channels is therefore not a 
problem in itself. The audio quality will not be degraded by 
this.
However, when many high level signals are mixed in an 
output bus, this may require that you lower the output 
channel level a lot (see below). Therefore it is good prac
-
tice to keep the maximum levels for individual audio chan-
nels roughly around 0 dB.
About the level meters for input and output channels
Input and output channels have clipping indicators. 
•When you are recording, clipping can occur when the 
analog signal is converted to digital in the audio hardware. 
With Cubase, it is also possible to get clipping in the signal being re-corded to disk (when 16 or 24 bit record format is used and you have 
adjusted the Mixer settings for the input channel). For more information, 
see 
“Setting input levels” on page 94.
•In the output busses, the floating point audio is con-
verted to the resolution of the audio hardware. In the inte-
ger audio domain, the maximum level is 0 dB – higher 
levels cause the clipping indicator for each bus to light up.
If the clipping indicators light up for a bus, this indicates actual clipping – 
digital distortion which is to be avoided.
!It is also possible to create volume envelopes for 
separate events in the Project window or Audio Part 
Editor (see 
“Event envelopes” on page 123), or to 
make static volume settings for an event on the info 
line or with the volume handle (see 
“About the vol-
ume handle” on page 119).
!When Direct Monitoring is used and the “Map input 
bus metering to Audio track (in Direct Monitoring)” 
option is activated in the Preferences dialog (VST–
Metering page), the level meters in the Mixer show 
the level of the input bus instead. 
!If the clipping indicator lights up for an output chan-
nel, lower the level until the indicator is no longer lit. 
						

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The Mixer
About the Input Gain control
Each audio-related channel and input/output channel fea-
tures an Input Gain knob. It controls the gain for the in-
coming signal, before EQ and effects.
The Input Gain knob is not meant to be used as a volume 
control in the Mixer, as it is not suited for continuous level 
adjustments during playback. However, it can be used to 
cut or boost the gain. This is useful in the following cir
-
cumstances:
•To change the level of a signal before the effects sec-
tion.
The level going into certain effects can change the way the signal is af-
fected. A compressor, for example, can be “driven” harder by raising the 
input gain.
•To boost the level of poorly recorded signals.
To change the input gain value, you need to press [Shift] 
before you can adjust the control (that way accidental gain 
changes are avoided). If you press [Alt]/[Option], you can 
adjust the Input Gain using a fader. Alternatively, you can 
directly enter a new value in the value field.
About the Input Phase control
Each audio-related channel and input/output channel has 
an Input Phase button (to the left of the Input Gain con
-
trol). When this button is activated, the phase polarity is 
inverted for the signal. Use this to correct for balanced 
lines and mics that are wired backwards, or mics that are 
“out of phase” due to their positioning.
•Phase polarity is important when mixing together two 
similar signals. 
If the signals are “out of phase” with respect to one another, there will be 
some cancellation in the resulting audio, producing a hollow sound with 
less low-frequency content.
Level meters for MIDI channels
The level meters for MIDI channels do not show actual vol-
ume levels. Instead, they indicate the velocity values of the 
notes played back on MIDI tracks.
MIDI tracks set to the same MIDI channel and output
If you have several MIDI tracks set to the same MIDI chan-
nel (and routed to the same MIDI output), making volume 
and pan settings for one of these MIDI tracks/Mixer chan
-
nels also affects all other Mixer channels set to the same 
MIDI channel/output combination.
Using Solo and Mute
You can use the Mute and Solo buttons to silence one or 
several channels. 
The following applies:
•The Mute button silences the selected channel.
Clicking the Mute button again unmutes the channel. Several channels 
can be muted simultaneously. Muting group channels can have two dif
-
ferent results depending on how the Preferences are set (see “Settings for group channels” on page 165).
A muted channel 
in the Mixer.A lit Global Mute icon on the com-
mon panel shows that one or more 
channels are muted. 
						

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The Mixer
•Clicking the Solo button for a channel mutes all other 
channels.
A soloed channel is indicated by a lit Solo button, and also by the lit 
Global Solo icon on the common panel. Click the Solo button again to 
turn off Solo.
•Several channels can be soloed at the same time.
However, if you press [Ctrl]/[Command] and click the Solo button for a 
channel, any other soloed channels are automatically un-soloed (i.
 e. this 
Solo mode is exclusive).
•[Alt]/[Option]-clicking a Solo button activates “Solo De-
feat” for that channel.
In this mode the channel will not be muted if you solo another channel. To 
turn off Solo Defeat, [Alt]/[Option]-click the Solo button again. 
•You can un-mute or un-solo all channels simultaneously 
by clicking the Global Mute or Global Solo icon on the 
common panel.
Solo Defeat is activated for this channel. 
						

							155
The Mixer
Audio-specific procedures
This section describes the options and basic procedures regarding audio channels in the Mixer. The following graphic 
shows different types of (non-extended) audio-related channels (from left to right): an audio track, a group channel, an 
instrument track, an FX channel, and a VST instrument channel: 
  
All audio-related channel types have the same channel 
strip layout, with the following exceptions:
• Only audio track channels have an Input Routing pop-up 
menu.
• Only audio and instrument track channels have Monitor and 
Record Enable buttons.
• Instrument track and VST instrument channels have an addi-
tional button for opening the instrument’s control panel.
About the Insert/EQ/Send indicators and 
bypass buttons
The three buttons in each audio channel strip have the fol-
lowing functionality:
•If an insert or send effect, or an EQ module is activated 
for a channel, the corresponding button is lit. 
The effect indicator buttons are blue, and the EQ indicator buttons are 
green.
•If you click any of these buttons when lit, the corre-
sponding EQ or effects section is bypassed.
Bypass is indicated by the color yellow. Clicking the button again deac-
tivates bypass.
Options for extended audio channel strips
When using the extended view (see “Normal vs. extended 
channel strips” on page 148), the upper panel can be set 
to show different views for each audio-related channel 
strip. You can select what to display in the extended panel 
individually for each channel or globally for all channels.
The following views are available:
•A blank panel (“Empty”).
•The Inserts section, with 8 effect pop-up menus, a by-
pass and an edit button.
The inserts can also be found in the Inspector and the Channel Settings 
window, see “Using Channel Settings” on page 158.
•The EQ section, either with value sliders (“EQs”) or as 
numerical settings with a curve display (“EQs curve”).
These two views have exactly the same controls but different graphic lay-
outs. The EQ section is also available in the Channel Settings window. 
For EQ parameter descriptions, see “Making EQ settings” on page 159.
•The Sends section, with 8 effect pop-up menus and 
send level value sliders.
The sends can also be found in the Inspector and the Channel Settings 
window, see 
“Using Channel Settings” on page 158.
Automation controls
Monitor and Record 
Enable buttons Input/Output Routing
Opens the control panel for the VST instrument. Level fader and meter
Edit button (opens the 
Channel Settings window)
Insert/EQ/Send indicators and bypass buttons (see below)Channel name Input Gain control
Speaker configuration
Input Phase switch
Listen button (see the section 
“Listen mode (Cubase only)” on 
page 156) Pan control 
						

							156
The Mixer
•You also have the option of displaying four sends at a 
time (the Sends 1–4 and 5–8 menu items). 
These modes offer the additional benefit of displaying send levels as dB 
values.
•Cubase only: The Panner section (where applicable).
If the channel is routed to a surround bus, you can view a compact ver-
sion of the SurroundPanner in the extended panel. Double-click on it to 
open the full SurroundPanner panel. 
•The Meter section.
Select the Meter option to view large level meters in the extended panel. 
These operate exactly like the regular meters.
•The Overview section.
Select the Overview option if you want to know which insert effects, EQ 
modules, and send effects are activated for the channel. You can click 
the On/Off buttons to activate and deactivate the corresponding insert 
effect, EQ module, or send effect.
•Cubase only: The User Panel section.
Select the User Panel option to view the available device panels for the 
audio track, including panels for inserted VST effects, see “Audio tracks” 
on page 40. You can access the available panels via the User pop-up 
menu in the extended Mixer panel.For information on device panels, see the separate PDF document “MIDI 
Devices”.
•Cubase only: The Studio Sends section.
Select the Studio Sends option if you want to view the available studio 
sends. This section is only available if the Control Room is enabled, see 
the chapter 
“Control Room (Cubase only)” on page 172.
ÖIn narrow mode, only the Channel Overview and the 
Meter sections can be shown in the extended channel 
strip. If you have selected any of the other options, the 
Channel Overview is displayed in narrow mode. When 
you switch back to wide mode, the corresponding set
-
tings become available again.
Listen mode (Cubase only)
Additionally to the Solo/Mute functions, which affect the 
actual mix, Cubase features a Listen function. It allows you 
to quickly check the signal coming from selected channels 
without interrupting and interfering with the actual mix.
For example, during a recording session this allows the 
sound engineer in the control room to attenuate the signal 
coming from one of the musicians while the recording 
continues undisturbed.
In the Control Room Mixer you can enable/disable the Lis-
ten function for the Phones and Control Room channels, 
decide whether the signal is read pre-fader or post-fader, 
and hear the signals from the listen-enabled channels in 
context by adding a dimmed version of the mix signal. For 
more information about the functions available in the Con
-
trol Room Mixer, see “The Control Room Mixer” on page 
177.
In the Mixer you can listen-enable any track by activating 
the corresponding Listen button:
•Clicking the Listen button for a channel routes that 
channel to the Control Room without interrupting the nor
-
mal signal flow. 
A listen-enabled channel is indicated by a lit Listen button, and also by 
the lit global Listen button on the common panel. 
The Listen button for a channel strip and the global Listen button on the 
common panel
•Click the Listen button again to turn off Listen mode.
You can also turn off Listen mode for all listen-enabled tracks at the 
same time by clicking the global Listen button on the common panel.
ÖIn the Key Commands dialog (Mixer category) you can 
also set up a key command to enable/disable Listen for a 
channel (see 
“Key commands” on page 541).
Setting pan in the Mixer
For each audio-related channel with at least a stereo out-
put configuration you will find a miniature pan control at 
the top of the channel strip. Cubase only: This control is 
different for stereo and surround configurations.
Panning channels with a stereo output configuration
The pan control at the top of stereo audio channel strips is 
used to position a channel in the stereo spectrum.
The stereo pan control
The following applies when using the pan control: 
•To make fine pan adjustments, hold down [Shift] when 
you move the pan control. 
						

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The Mixer
•To select the (default) center pan position, hold down 
[Ctrl]/[Command] and click on the pan control.
•To view the pan settings in a separate window, where 
you can change the settings using sliders, double-click on 
the pan control.
About the three stereo pan modes (Cubase only)
By default, stereo pan controls the balance between the 
left and right channels. However, if you want to set pan in
-
dependently for the left and right channel, you can select a 
different pan mode.
If you right-click in the pan control field for a stereo audio 
channel, you can select one of three pan modes:
•Stereo Balance Panner controls the balance between 
the left and right channels.
This is the default mode.
•If Stereo Dual Panner is selected, there will be two pan 
controls with the upper controlling pan for the left channel, 
and the lower controlling pan for the right channel.
This allows you to set pan independently for the left and right channels. 
Note that it is possible to reverse the left and right channels, i. e. the left 
channel can be panned to the right and vice versa. You can also “sum” 
two channels by setting them to the same pan position (i.
 e. mono). How-ever, this will increase the volume of the signal.
•If Stereo Combined Panner is selected, the left and 
right pan positions are shown as two lines with a blue/gray 
area between them.
In this mode, the left and right pan controls are linked, and can be moved 
left and right like a single pan control (keeping their relative distance).
In Stereo Combined mode you can also set the pan inde-
pendently for the left and right channels. This is done by 
holding down [Alt]/[Option] and dragging the correspond
-
ing pan control.
ÖIf you reverse the left and right channels, the area be-
tween the pan controls is red instead of blue/gray.
When moving combined pan controls so that the left or 
right pan control reaches its maximum pan value, it natu
-
rally cannot go any further. If you continue to move further 
in the same direction, only the other pan control will move, 
thus altering the set relative pan range until both channels 
are panned fully to one side. If you move the pan controls 
in the opposite direction without releasing the mouse, the 
previously set pan range will be restored.
ÖThe pan settings made with the Dual Panner are re-
flected in the Combined Panner and vice versa.
ÖYou can specify the default pan mode for inserted au-
dio tracks in the Preferences dialog (VST page).
About the “Stereo Pan Law” setting
In the Project Setup dialog you will find a pop-up menu 
named “Stereo Pan Law”, which allows you to select one 
of several pan modes. These modes are required for 
power compensation. Without power compensation, the 
power of the sum of the left and right side is higher 
(louder) if a channel is panned center than if it is panned 
left or right. 
To remedy this, the Stereo Pan Law setting allows you to 
attenuate signals panned center, by -6, -4.5 or -3
 dB (de-
fault). Selecting the 0 dB option effectively turns off con-
stant-power panning. Experiment with the modes to see 
which fits best in a given situation. You can also select 
“Equal Power” on this pop-up menu, which means that the 
power of the signal will remain the same regardless of the 
pan setting.
Panning multi-channel audio (Cubase only)
Channels with a multi-channel output configuration fea-
ture a miniature SurroundPanner control at the top of the 
channel strip. For further information on multi-channel au
-
dio and the SurroundPanner V5, see the chapter “Sur-
round sound (Cubase only)” on page 217. 
						

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The Mixer
Panning Bypass
You can bypass the panning for all audio-related track 
types. To do this, press [Shift]–[Alt]/[Option] and click on 
the pan setting for the respective channel (on the fader 
panel or in the extended Mixer view).
When panning is bypassed for a channel, the following 
happens:
• Mono channels are panned center.
• Stereo channels are panned left and right.
• Surround channels are panned center (Cubase only).
ÖTo deactivate Panning Bypass, simply press [Shift]-
[Alt]/[Option] and click again.
Using Channel Settings 
For each audio channel strip in the Mixer and in the In-
spector and track list for each audio track, there is an Edit 
button (“e”).
Clicking this opens the VST Audio Channel Settings win-
dow. By default, this window contains:
• A section with eight insert effect slots (see “Audio effects” on 
page 187).
• Four EQ modules and an associated EQ curve display (see 
“Making EQ settings” on page 159).
• A section with eight sends (see “Audio effects” on page 187).
• A duplicate of the Mixer channel strip (without the extended 
panel but with the input and output settings panel).
You can customize the Channel Settings window, by 
showing/hiding the different panels and/or by changing 
their order:
• To specify which panels are shown or hidden, right-click in the 
Channel Settings window, and activate/deactivate the corre
-
sponding options on the Customize View submenu of the 
context menu.
• To change the order of the panels, select “Setup…” on the 
Customize View pop-up menu and use the “Move up” and 
“Move Down” buttons.
ÖFor further information, see the chapter “Customizing” 
on page 531.
Every channel has its own Channel Settings window (al-
though you can view each in the same window if you like – 
see below).
The Channel Settings window in its default configuration 
is used for the following operations:
• Apply equalization, see “Making EQ settings” on page 159.
• Apply send effects, see “Audio effects” on page 187.
• Apply insert effects, see “Audio effects” on page 187.
• Copy channel settings and apply them to another channel, see 
“Copying settings between audio channels” on page 161.
Changing channels in the Channel Settings window
You can view any channel’s settings from a single win-
dow. 
If the “Sync Project and Mixer Selection” option is acti-
vated in the Preferences dialog (Editing–Project & Mixer 
page), this can be done “automatically”:
•Open the Channel Settings window for a track and po-
sition it so that you can see both the Project window and 
the Channel Settings window.
!All channel settings are applied to both sides of a 
stereo channel.
Click the Edit button to open the Channel Settings 
window. 
						

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The Mixer
Selecting a track in the Project window automatically 
selects the corresponding channel in the Mixer (and vice 
versa). If a Channel Settings window is open, this will im
-
mediately switch to show the settings for the selected 
channel. This allows you to have a single Channel Settings 
window open in a convenient position on the screen, and 
use it for all your EQ and channel effect settings.
You can also select a channel manually (thereby changing 
what is shown in the open Channel Settings window). 
Proceed as follows:
1.Open the Channel Settings window for any channel.
2.Open the “Choose Edit Channel” pop-up menu by 
clicking the arrow button to the left of the channel number 
at the top of the Fader view.
3.Select a channel from the pop-up menu to show the 
settings for that channel in the open Channel Settings 
window.
•Alternatively, you can select a channel in the Mixer by 
clicking its channel strip (make sure not to click on a con
-
trol as this will change the respective parameter setting 
instead).
This selects the channel, and the Channel Settings window is updated.
•To open several Channel Settings windows at the same 
time, press [Alt]/[Option] and click the Edit buttons for the 
respective channels.
Making EQ settings
Each audio channel in Cubase has a built-in parametric 
equalizer with up to four bands. There are several ways to 
view and adjust the EQs:
•By selecting one of the EQ display modes from the 
View Options pop-up menu (“EQs” or “EQs Curve”) for 
the extended channel strip in the Mixer. These modes con
-
tain the same settings but present them in different ways:
•By selecting the Equalizers or Equalizer Curve tab in the 
Inspector.
The Equalizers section is similar to the EQs mode in the extended Mixer 
or the Equalizers section in the Channel Settings window, while the 
Equalizer Curve section shows a display in which you can “draw” an EQ 
curve. Setting EQ in the Inspector is only possible for track-based audio 
channels.
ÖBy default, only the Equalizers tab is shown. To display 
the Equalizer Curve tab, right-click on an Inspector tab 
(not in the empty area below the Inspector) and activate 
the Equalizer Curve option.
•By using the Channel Settings window.
This offers both parameter sliders and a clickable curve display (the 
Equalizer + Curve pane) and also lets you store and recall EQ presets. 
Below we describe how to set up EQ in the Channel Set-
tings window, but the parameters are the same in the 
Mixer and Inspector (apart from the presets and reset func
-
tion, which are not available in the Mixer). 
In “EQs” mode, the top value slider controls the gain, 
the middle controls frequency and the lower sets the 
filter type and the Q parameter for each EQ band.
In “EQs Curve” mode, EQ settings are shown as a 
curve. Parameters are set by clicking on the value 
and adjusting with the fader that appears. 
						

							160
The Mixer
The Equalizers + Curve pane in the Channel Settings win-
dow consists of four EQ modules with parameter sliders, 
an EQ curve display and some additional functions at the 
top.
Using the parameter controls
1.Activate an EQ module by clicking its On/Off button.
Although the modules have different default frequency values and differ-ent Q names, they all have the same frequency range (20 Hz to 20 kHz). 
The only difference between the modules is that you can specify different 
filter types for each individual module (see below).
2.Set the amount of cut or boost with the gain control – 
the upper slider.
The range is ± 24 dB.
3.Set the desired frequency with the frequency slider.
This is the center frequency of the frequency range (20 Hz to 20 kHz) to 
be cut or boosted.
4.Click on the filter name above the bottom slider and 
select a filter type from the pop-up menu.
The “eq1” and “eq4” bands can act as parametric, shelving, or high/low-
pass filters, while “eq2” and “eq3” will always be parametric filters.
5.Set the Q value with the bottom slider.
This determines the width of the affected frequency range. Higher values 
give narrower frequency ranges.
6.To invert an EQ band (i. e. reflect the curve along the x 
axis), click the Inverse button to the right of its On/Off but
-
ton. This button is hidden when the EQ module is deacti-
vated.
This is very useful if you want to filter out unwanted noise. While looking 
for the frequency to omit, it sometimes helps to boost it in the first place 
(set the filter to positive gain). After you have found it, you can use the In
-
verse button to cancel it out.
7.If needed, you can activate and make settings for up to 
four modules.
•Note that you can edit the values numerically as well, by 
clicking in a value field and entering the desired gain, fre
-
quency, or Q value.
Using the curve display
When you activate EQ modules and make settings, you 
will see that your settings are automatically reflected in the 
curve display above. You can also make settings directly 
in the curve (or combine the two methods any way you 
like):
1.To activate an EQ module, click in the curve display.
This adds a curve point and one of the modules below is activated.
2.Make EQ settings by dragging the curve point in the 
display.
This allows you to adjust gain (drag up or down) and frequency (drag left 
or right).
3.To set the Q parameter, press [Shift] and drag the 
mouse up or down.
You will see the EQ curve become wider or narrower as you drag.
•You can also restrict the editing by pressing [Ctrl]/
[Command] (sets gain only) or [Alt]/[Option] (sets fre
-
quency only) while you drag the curve point.
4.To activate another EQ module, click somewhere else 
in the display and proceed as above.
5.To turn off an EQ module, double-click its curve point 
or drag it outside the display.
6.To invert the EQ curve (i. e. reflect it along the x axis), 
click the Inverse Equalizers button to the right of the curve 
display.