Steinberg Cubase 6 Manual

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The Sample Editor
Editing regions
The region selected in the list is displayed in gray in the 
waveform display and the overview line.
There are two ways to edit the start and end positions of a 
region:
•Click and drag the region start and end handles in the 
waveform display (with any tool).
When you move the pointer over the handles, it automatically changes to 
indicate that you can drag the handles.
•Edit the Start and End positions in the corresponding 
fields in the regions list.
The positions are shown in the display format selected for the ruler and 
info line, but are relative to the start of the audio clip rather than the proj
-ect timeline.
Auditioning regions
You can listen to a region by selecting it in the list and 
clicking the Play Region button above the list. The region 
will play back once or repeatedly, depending on whether 
the Loop icon on the toolbar is activated or not.
You can also listen to a region by selecting it in the list and 
clicking the Audition icon on the toolbar. This way you can 
preview separate regions by clicking on them in the list or 
by selecting them with the up/down arrow keys on your 
computer keyboard.
Making selections from regions
If you select a region in the list and click the Select Region 
button above, the corresponding section of the audio clip 
is selected (as if you had selected it with the Range Se
-
lection tool) and zoomed. This is useful if you want to ap-
ply processing to the region only. 
ÖYou can also double-click a region in the Pool to have 
its audio clip opened in the Sample Editor with the area of 
the region automatically selected.
Creating audio events from regions
To create new audio events from regions using drag & 
drop, proceed as follows:
1.In the list, click on the region and keep the mouse but-
ton pressed.
2.Drag the region to the desired position in the project 
and release the mouse button.
A new event is created.
•You can also use the “Events from Regions” function 
from the Advanced submenu of the Audio menu (see 
“Re-
gion operations” on page 68).
Exporting regions as audio files
If you create a region in the Sample Editor, the region can 
be exported to disk as a new audio file. This is done from 
the Pool, see 
“Exporting regions as audio files” on page 
307.
Selecting an algorithm for realtime playback
On the Algorithm pop-up menu on the toolbar you can se-
lect the algorithm preset to be applied during realtime 
playback. This setting affects warp changes in Musical 
Mode, FreeWarp, and Swing. For the VariAudio warping 
and pitching features, the “Standard – Solo” preset must 
be used and is applied automatically.
The pop-up menu contains various options that govern 
the audio quality of the realtime time stretching. There are 
presets for common uses and a Custom option that allows 
you to manually set warp parameters. The presets are 
sorted into categories, according to the technology used 
(élastique or Standard). For a detailed description of the 
available presets, see 
“About time stretch and pitch shift 
algorithms” on page 259. 
						

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The Sample Editor
Musical Mode
Musical Mode allows you to lock audio clips to the project 
tempo by using realtime time stretching. This is very useful 
if you want to use audio in your project without worrying 
too much about timing.
If you want to use Musical Mode, verify that the length in 
bars corresponds to the audio file you imported. If neces
-
sary, listen to your audio and enter the correct length in 
bars and beats.
When Musical Mode is activated, audio events will adapt 
to any tempo changes in Cubase, just like MIDI events.
You can activate Musical Mode on the AudioWarp tab, the Definition 
tab, and the toolbar.
ÖIt is also possible to activate/deactivate Musical Mode 
from within the Pool by clicking the corresponding check
-
box in the Musical Mode column.
Warping audio
Warping is a term used to describe the realtime time 
stretching of a selected section of audio. Warping is gen
-
erally used to correct the tempo or timing of audio.
Adjusting loops to the project tempo using 
Musical Mode
Audio loops are normally short audio files containing a de-
fined number of bars with straight beats. These loops can 
be adjusted to the project tempo by using the Musical 
Mode function. Proceed as follows: 
1.Import an audio loop into a project and double-click it 
to open the Sample Editor.
If you open the Definition tab and take a look at the rulers, you will see 
that the project tempo grid (upper ruler) and the grid of your audio (lower 
ruler) do not match.
2.From the Algorithm pop-up menu on the toolbar, se-
lect the algorithm preset to be applied during realtime 
playback.
For details about the available options on the submenus, see “About time stretch and pitch shift algorithms” on page 259.
3.Listen to the loop and, if necessary, correct the Bars 
and Beats values on the toolbar.
!Cubase supports ACID® loops. These loops are 
standard audio files but with embedded tempo/length 
information. When ACID® files are imported into Cu
-
base, Musical Mode is automatically activated and the 
loops will adapt to the project tempo. 
						

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The Sample Editor
4.Activate the Musical Mode button.
Your loop is warped and stretched automatically to adapt it to the project 
tempo. The rulers reflect the change.
In the Project window, the audio event is now shown with 
a note symbol and a warp symbol in the upper right corner 
to indicate that time stretching has been applied.
Adjusting complex audio material to the 
project tempo using Musical Mode
If you want to use an audio file with unknown tempo or if 
the beat of your audio file is not straight, you have to 
change the “definition” of this audio file first. This is done 
with the Auto Adjust function on the Definition tab of the 
Sample Editor Inspector.
The Auto Adjust function extracts a “local” definition grid 
that you can then match with the project tempo using Mu
-
sical Mode.
To extract the definition from an audio file, proceed as 
follows:
1.Open an audio clip or audio event in the Sample Editor.
2.Open the Definition tab and select a suitable value 
from the Grid pop-up menu.
This determines the grid resolution for your audio.
3.Select a range that is covering one or several bars.
This selection should cover the section that you want to use in your proj-
ect. The definition grid will be calculated for this section only.
4.Click the Auto Adjust button.
The snap point is moved to the start of the selected range, which is now 
also the start position of the local definition grid. The lower ruler changes 
to reflect your edits. The transients, i.
 e. the bars and beats positions, are 
marked with vertical lines.
5.Activate the Musical Mode button.
Your clip is warped and stretched automatically to adapt it to the project 
tempo. The rulers reflect the change.
ÖYou can also apply Auto Adjust directly on an audio 
event or a clip. If no range selection is defined, the grid is 
calculated for the audio event. If no range selection and no 
audio event are defined, the grid is calculated for the en
-
tire clip. In both cases you need to make sure that the 
event or clip starts and ends on a bar line.
!The Auto Adjust function needs to be applied on a 
section containing complete bars. Therefore you first 
need to define a range in your audio material that 
starts and ends at a bar line. 
						

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The Sample Editor
Correcting the local definition grid
In some situations, you might not be able to get satisfying 
results with the “Auto Adjust” function. In this case you 
can manually modify the grid and tempo of your audio file. 
Proceed as follows:
1.On the Definition tab, activate the Manual Adjust tool.
2.If the grid start does not correspond with the first main 
beat, move the mouse pointer to the beginning of the au
-
dio clip until the tooltip “Set Grid Start” is displayed.
The mouse pointer turns into a double arrow.
3.Click and drag the mouse to the right until you reach 
the first downbeat. Release the mouse button to move the 
grid start (and snap point).
The lower ruler (for the local grid) changes to reflect your edits. 
4.Audition the file to determine where the second bar in 
the sample begins.
5.In the upper part of the waveform, move the mouse 
pointer to the vertical line nearest to the second bar so 
that the tooltip “Stretch Grid” and a blue vertical line are 
shown.
“Stretch Grid” allows you to correct the tempo by stretching or com-
pressing the whole grid.
6.Click and drag the blue vertical line to the left or right 
to the position of the first downbeat in the second bar and 
release the mouse button.
The beginning of the next bar is set, and all bar positions in the grid are 
adjusted so that the bars have the same length.
7.Check the positions of the following bars. If you find an 
incorrect bar position, move the mouse pointer over the 
grid lines in the lower part of the waveform so that the 
tooltip “Set Bar Position (Move Following Bars)” and a 
green vertical line are shown.
“Set Bar Position” allows you to adjust a single bar line, thereby chang-ing the tempo of one bar only. The bars to the right are moved accord-
ingly, but the area to the left remains unaffected.
8.Click and drag the green vertical line to the left or right 
to the position of the first downbeat of the following bar 
and release the mouse button.
Repeat the last two steps for all bar lines that need to be corrected.
9.Now have a look at the single beats in between the 
bars. If you find an incorrect beat position, move the mouse 
pointer over the corresponding grid line so that the tooltip 
“Set Beat Position” and a blue vertical line are shown. 
						

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The Sample Editor
10.Click and drag the grid line to align the single beat po-
sition with the waveform, and release the mouse button.
•To remove a misplaced beat edit, press any modifier key 
so that the Eraser tool is shown and click on the adjusted 
grid line.
ÖIf you want to hear your changes immediately, you can 
activate Musical Mode for this procedure. The warping will 
be recalculated after each edit.
Applying swing
If you find that your audio sounds too straight, e. g. after 
having used the Auto Adjust function, you can add swing. 
Proceed as follows:
1.Activate Musical Mode.
2.On the AudioWarp tab, select a suitable grid resolu-
tion from the Resolution pop-up menu.
This defines the positions that the swing is applied to. If you select 1/2, 
the swing is applied in steps of half notes, if you select 1/4, it is applied 
in steps of quarter notes, etc.
3.On the Algorithm pop-up menu on the toolbar select 
the algorithm preset that fits the audio material best.
For details about the available options, see “Standard” on page 260.
4.Move the Swing fader to the right to offset every sec-
ond position in the grid.
This creates a swing or shuffle feel. 
Depending on how far you move the fader to the right and 
what grid resolution you chose, this function offers every
-
thing from half-note swing to 64th-note swing. 
Free Warp
The Free Warp tool allows you to change the timing of indi-
vidual positions in the audio material.
The Free Warp tool creates warp tabs. Warp tabs are a 
kind of marker or anchor that can be attached to musically 
relevant time positions in an audio event, for example the 
first beat of every bar. Warp tabs can be dragged to the 
corresponding time positions in the project, and the audio 
will be stretched accordingly. Because the Free Warp tool 
allows you to freely stretch any part of the audio, you can 
use warp tabs for many operations, such as creative 
editing.
Warp tabs are typically used for creative tempo editing or 
further tweaking after having activated Musical Mode.
ÖWarp tabs can also be created from hitpoints (see 
“Create Warp Tabs” on page 280).
!When you activate or deactivate Musical Mode or 
select another Resolution value, all your warp modifi
-
cations will be lost. 
						

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The Sample Editor
To correct the timing using the Free Warp tool, proceed 
as follows:
1.Open the audio file that you wish to process in the 
Sample Editor.
2.Activate the “Snap to Zero Crossing” button on the 
Sample Editor toolbar.
When this button is activated, warp tabs will snap to zero crossings.
3.If you want to use the Free Warp tool for selective tim-
ing corrections, you can define the local definition grid and 
activate the Musical Mode function.
The next step is to find out where a warp tab needs to be 
added.
4.On the Transport panel, use the Click button to acti-
vate the metronome click, and play back your audio clip to 
determine positions where the beat is not on time with the 
click.
If you find it difficult to pinpoint an exact position in the audio event, you 
can use the Scrub tool and/or zoom in the view.
5.On the AudioWarp tab, select the Free Warp tool, 
place the pointer at the position of the beat that you want 
to adjust, click, and hold.
The mouse pointer changes to a clock with arrows on either side and a 
vertical line in the middle. A new warp tab is inserted.
6.With the mouse button still pressed, drag the warp tab 
to the desired position and release the mouse button.
The beat should now be perfectly aligned with the corresponding posi-
tion in the project. You can also first add warp tabs at the relevant musi-
cal positions and change their positions later, see “Editing Warp tabs” on page 289.
Next to the warp tab handle in the ruler, a number is 
shown. This number indicates the warp factor, i.
 e. the 
amount of stretch. Warp factors higher than 1.0 indicate 
that the audio region preceding the warp tab is expanded 
and will play back slower. Warp factors lower than 1.0 in
-
dicate that the audio region preceding the warp tab is 
compressed and will play back faster.
Editing warp tabs
•To move the destination position of a warp tab (and thus 
stretch or compress the audio), select the Free Warp tool 
and position the pointer on the warp line in the waveform, 
click and drag.
•To change the insert position of a warp tab in the audio, 
click and drag the warp tab handle in the ruler. 
This will change the warping.
•To disable all warp modifications, click the “Disable 
Warp Changes” button on the AudioWarp tab.
Alternatively you can use the “VariAudio - Disable Warp Changes” key 
command from the Sample Editor category (see 
“Key commands” on 
page 541).
•To delete a warp tab, hold down [Alt]/[Option] so that 
the pointer becomes an eraser and click on the warp tab. 
To delete several warp tabs, hold down [Alt]/[Option] 
while drawing a selection rectangle.
Resetting warp modifications
•To reset your Free Warp edits, click the Reset button on 
the AudioWarp tab.
This also resets the “Disable Warp Changes” button on the same tab.
ÖIf Musical Mode is activated, only Free Warp edits are 
reset.
Working with hitpoints and slices
Cubase can detect hitpoints, i. e. musically relevant posi-
tions, by analyzing onsets and melodic changes. At these 
positions a type of marker is added. Hitpoints allow you to 
create slices, where each slice ideally represents each in
-
dividual sound or “beat” (drum or other rhythmic record-
ings or loops work best with this feature). 
Purpose and preparation
The main functions of using hitpoints are to slice up audio 
to make it fit the project tempo or to create a situation that 
allows the song tempo to be changed while retaining the 
timing of a rhythmic audio loop. 
						

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The Sample Editor
When you have successfully detected the hitpoints for an 
audio file, you can do a number of useful things:
• Change the tempo of the audio material without affecting the 
pitch and audio quality.
• Extract the timing (a groove map) from a drum loop. The 
groove map can then be used to quantize other events, see 
“Create Groove Quantize Preset” on page 111.
• Use slices to replace individual sounds in a drum loop.
• Extract sounds from loops.
You can further edit these slices in the Audio Part Editor. 
You can, for example:
• Remove or mute slices.
• Change the loop by reordering, replacing, or quantizing slices. 
• Apply processing or effects to individual slices.
• Create new files from individual slices using the “Bounce 
Selection” function on the Audio menu.
• Transpose in realtime and stretch slices.
• Edit slice envelopes.
Hitpoints can also be used to quantize audio material 
without creating slices. For details about the quantizing 
functions, see the chapter 
“Quantizing MIDI and audio” on 
page 108.
Which audio files can be used?
Here are some guidelines as to what type of audio files are 
suited for slicing using hitpoints:
•Each individual sound should have a noticeable attack.
Slow attacks, legato playing, etc. may not produce the desired result.
•Poorly recorded audio might be difficult to slice correctly.
In these cases, try to normalize the files or to remove DC Offset.
•The recorded audio should contain as little crosstalk 
signals as possible.
Crosstalk refers to the “bleeding” of a sound into a microphone placed 
before another instrument during recording.
•There may be problems with sounds drowned in smear-
ing effects, like short delays.
Adjusting the tempo: warping vs. hitpoints and slices
Both the warping features and the hitpoint detection can 
be used to alter the tempo and timing of audio material. 
Warping is very useful for continuous audio material with
-
out noticeable gaps between the individual sounds, e. g. 
piano or vocal recordings. 
Using hitpoints has the advantage that the quality of the 
sound is not affected and no artifacts are being intro
-
duced. The audio is cut up into slices that are then moved 
on the timeline, making this method especially suited for 
drums, which contain silence between the individual 
sounds. Furthermore, hitpoint detection is useful for multi-
track drum recordings, because the phase alignment is 
kept stable. Using hitpoints and slices for continuous au
-
dio material is not recommended, as it is difficult to fill the 
gaps caused by moving the slices.
Detecting and filtering hitpoints
Hitpoints are calculated when you activate the “Edit Hit-
points” option on the Hitpoints tab. The audio event is an-
alyzed and the hitpoints are shown as vertical lines.
Depending on the quality and type of the analyzed audio 
material, you may have to fine-tune the hitpoint detection 
using the Threshold slider and the Beats pop-up menu. 
Furthermore you can manually add, edit, or remove hit
-
points.
•To filter out hitpoints based on their peaks in dB, use 
the Threshold slider. The threshold is indicated by a hori
-
zontal line.
This can be used to eliminate found hitpoints in crosstalk signals, e. g. by 
keeping the louder bass drum hits and ignoring the quieter crosstalk sig-
nals of the snare drum.
•To filter out hitpoints by their musical position, use the 
Beats pop-up menu. Only hitpoints within a certain range 
of a defined beat value are allowed. The following options 
are available:
ÖWhen hitpoints have been calculated, they are also 
visible in the Project window for selected events (provided 
that the zoom factor is high enough). In the Sample Editor, 
hitpoints are only displayed in the waveform when the Hit
-
points tab is open.
OptionDescription
AllAll hitpoints are shown (taking the Threshold slider into ac-count).
1/4, 1/8,  1/16, 1/32Only hitpoints that are close to the selected note value posi-tions within the loop are shown (e. g. close to exact sixteenth 
note positions).
A second ruler displaying the local definition of the audio file 
is shown below the ordinary ruler. 
						

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The Sample Editor
Auditioning and hitpoints
•You can audition the hitpoint slices (i. e. the area be-
tween two hitpoints) by pointing and clicking in any slice 
area.
The pointer changes to a speaker icon and the corresponding slice is 
played back from the beginning to the end.
Navigating between hitpoints
•You can navigate between the slices using the arrow 
keys or by pressing the [Tab] key.
•You can select the next or previous hitpoint marker us-
ing the Locate Next/Previous Hitpoint commands.
The default key commands for this are [Alt]/[Option]-[N] and [Alt]/[Op-tion]-[B].
Editing hitpoints
You can change the state of a hitpoint, insert new hit-
points manually, and move existing hitpoints.
Hitpoints can have three different states: enabled, locked, 
and disabled. “Enabled” is the normal state a hitpoint has 
immediately after the detection. Hitpoints can be “dis
-
abled” so that they are still visible as gray triangles on the 
timeline, but will not be taken into account for further oper
-
ations. “Locking” hitpoints is an easy way to make sure 
that hitpoints are not accidentally filtered out. Locked hit
-
points are not affected by the Threshold slider and Beats 
pop-up menu.
An enabled, a disabled, and a locked hitpoint
Disabling and locking hitpoints
After applying the different hitpoint filters, you may find 
that you want to keep individual hitpoints that were filtered 
out or disable hitpoints that you do not need. Furthermore, 
you may want to lock certain hitpoints.
•To lock a hitpoint, move the mouse pointer over the gray 
triangle on the timeline so that the tooltip “Lock Hitpoint” 
is shown. Click on the triangle.
This way, enabled and disabled hitpoints can be locked.
•To lock a disabled hitpoint, you can also press [Alt]/
[Option] and move the mouse over the waveform. At posi
-
tions where a disabled hitpoint can be locked, a gray hit-
point line and the tooltip “Lock Hitpoint” are shown. Click 
to lock the hitpoint.
•To lock multiple hitpoints, press [Shift]-[Alt]/[Option] so 
that the tooltip “Lock multiple hitpoints” is shown and drag 
a rectangle over the hitpoints.
All enabled and disabled hitpoints within the area defined by the rectan-
gle become locked.
•To disable hitpoints, press [Shift] so that the tooltip 
“Disable Hitpoints” is shown and click on the line of a sin
-
gle hitpoint or drag a rectangle over all the hitpoints that 
you want to disable.
This way, enabled and locked hitpoints can be disabled. 
•To disable a locked hitpoint, you can also point the 
mouse at the blue hitpoint triangle on the timeline so that 
the tooltip “Disable Hitpoint” is shown. Click on the triangle.
Resetting hitpoints
Sometimes it can be useful to reset hitpoints to their orig-
inal state, e. g. because you still want them to be affected 
by the Threshold slider.
•To reset hitpoints to their original state, press [Ctrl]/
[Command]-[Alt]/[Option] so that the tooltip “Enable/Un
-
lock Hitpoints” is shown and drag a rectangle over the hit-
points.
All disabled and locked hitpoints within the area defined by the rectangle 
are reset. Note that some of the hitpoints may still appear as disabled 
due to the Threshold slider and Beats pop-up menu settings.
Inserting hitpoints
If you get too few hitpoints using the filter options, you can 
insert hitpoints manually.
•To insert a new hitpoint, press [Alt]/[Option] and click at 
the position where you want to enter the new hitpoint (i.
 e. 
at the start of the sound).
Manually added hitpoints are locked by default.
Moving hitpoints
If a hitpoint was either placed too far away from the start of 
the sound or too far into the sound, you can move it. 
						

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The Sample Editor
•To move a hitpoint, press [Alt]/[Option] and point the 
mouse at the vertical line of the hitpoint. The mouse 
pointer changes to a double arrow and the tooltip “Move 
Hitpoint” is shown. You can now drag the hitpoint to its 
new position.
Moved hitpoints are locked by default.
Slicing audio
Once you have set up the hitpoints as needed, you can 
slice the audio by clicking the Create Slices button on the 
Hitpoints tab. Alternatively, you can select the “Create Au
-
dio Slices from Hitpoints” command from the Hitpoints 
submenu of the Audio menu.
The following happens:
•The Sample Editor closes.
•The audio event is “sliced” so that the sections between 
the hitpoints become separate events, all referring to the 
same original file.
•The audio event is replaced by an audio part, containing 
the slices (double-click the part to view the slices in the 
Audio Part Editor).
•The audio is automatically adapted to the project tempo, 
taking the specified tempo or bars and beats values into 
account: if the event was one bar long, the part is resized 
to fit exactly one bar in the Cubase tempo, and the slices 
are moved accordingly, keeping their relative positions 
within the part.
•In the Pool, the sliced clip is shown with a different icon. 
Dragging the sliced clip from the Pool to an audio track 
creates an audio part with the slices adapted to the proj
-
ect tempo, just as above.
The audio should now play back seamlessly at the tempo 
set in the project!
Slices and the project tempo
The musical time base setting and the project tempo af-
fect how the sliced audio is played back. Make sure that 
the “Toggle Time Base” button in the track list or Inspec
-
tor is set to a musical time base (the button shows a note 
symbol – see 
“Defining the track time base” on page 74). 
This way the loop will follow any further tempo changes.
If the project tempo is slower than the tempo of the origi-
nal audio event, there may be audible gaps between the 
slice events in the part. To remedy this, you can apply the 
“Close Gaps (Timestretch)” function from the Advanced 
submenu of the Audio menu on the parts containing the 
slice events. Time stretch is applied to each slice to close 
the gaps. Depending on the length of the part and the al
-
gorithm set in the Preferences dialog (Editing–Audio 
page), this can take a while.
ÖIf you open the Pool, you will see that new clips were 
created, one for each slice.
If you decide to change the tempo again after using the 
“Close Gaps (Timestretch)” function, undo the Close 
Gaps operation or start over again, using the original, un
-
stretched file.
Also consider activating auto fades for the corresponding 
audio track – fade-outs set to about 10
 ms will help elimi-
nate any clicks between the slices when you play back the 
part. See 
“Making Auto Fade settings for individual tracks” 
on page 123 for details.
If the project tempo is higher than the tempo of the original 
audio event, the slice events are overlapping. Activate 
auto crossfades for the track to smooth out the sound 
(see 
“Making global Auto Fade settings” on page 122). 
Furthermore, you can select the overlapping events inside 
the part and apply the “Delete Overlaps” function from the 
Advanced submenu of the Audio menu.
The slices in the Audio Part Editor. Here, the project tempo was higher 
than the clip’s original tempo – the slice events overlap.
!When you create slices, all events referring to the 
edited clip are also replaced. 
						

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The Sample Editor
Slicing multi-track drum recordings
If you have a multi-track drum recording that you want to 
quantize using hitpoints, you can put all the tracks belong
-
ing to the recording in an edit group, calculate the hitpoints 
for the relevant tracks (e.
 g. Kick, Snare, and Hihats), and 
use the “Divide Audio Events at Hitpoints” command on 
the Audio menu (Hitpoints submenu) to slice all tracks of 
the recording at once. This is described in detail in the sec
-
tion “Quantizing multiple audio tracks (Cubase only)” on 
page 114.
Other hitpoint functions
On the Hitpoints tab of the Sample Editor Inspector, you 
will also find the following functions. Many of these func
-
tions are also available on the Hitpoints submenu of the 
Audio menu. If selected on the Audio menu, they can be 
applied on several events and even range selections at the 
same time.
Create Groove
This function is described in detail in the section “Create 
Groove Quantize Preset” on page 111.
Create Markers
If an audio event contains calculated hitpoints, you can 
click the Create Markers button on the Hitpoints tab to 
add a marker for each hitpoint. If your project has no 
marker track, it will be added and activated automatically 
(see 
“Using markers” on page 138). Markers can be use-
ful to snap to hitpoints, e. g. for locating hitpoints and for 
using the Time Warp tool (see 
“The Time Warp tool (Cu-
base only)” on page 469).
Create Regions
If your audio event contains calculated hitpoints, you can 
click the Create Regions button on the Hitpoints tab to 
automatically create regions from hitpoints. This can be 
useful to isolate recorded sounds.
Create Events
If your audio event contains calculated hitpoints, you can 
click the Create Events button on the Hitpoints tab to au
-
tomatically create separate events based on the hitpoints.
Create Warp Tabs
If you want to quantize audio based on hitpoints, you can 
use this option to create warp tabs from the calculated hit
-
points. This option is identical with using the “Create Warp 
Tabs from Hitpoints” option on the Realtime Processing 
submenu of the Audio menu.
Create MIDI Notes
You can export your hitpoints to a MIDI part containing a 
MIDI note for each hitpoint. For example, you can use this 
function to double, replace, or enrich drum hits by trigger
-
ing sounds of a VST instrument at the positions of the hit-
points.
•To convert the hitpoints into MIDI notes, click the “Cre-
ate MIDI Notes” button. Make the desired settings in the 
Convert Hitpoints to MIDI Notes dialog and click OK.
The following options are available:
OptionDescription
Velocity Mode /  VelocityDynamic Velocity Value – The velocity values of 
the created MIDI notes vary, according to the peak 
levels of the corresponding hitpoints.
Fixed Velocity Value – The created MIDI notes get 
the same velocity value. You can set this value us-ing the Velocity field.
Pitch / LengthHitpoints do not contain any information about 
pitch or duration. Therefore, all created MIDI notes 
get the same pitch and note length. Use these 
fields to specify the desired values.
DestinationFirst Selected Track – The MIDI part is placed on 
the first selected MIDI or instrument track. Note 
that any MIDI parts from previous conversions that 
are on this track will be deleted.
New MIDI Track – A new MIDI track is created for 
the MIDI part.
Project Clipboard – The MIDI part is copied into 
the clipboard so that you can insert it at the de-sired position on a MIDI or instrument track.