Steinberg Cubase 6 Manual

							481
The Project Browser (Cubase only)
ÖFor SysEx (system exclusive) events, you can only edit 
the position (Start) in the list. However, clicking the Com
-
ment column opens the SysEx Editor, in which you can 
perform detailed editing of system exclusive events. For a 
description of this, see 
“Working with SysEx messages” 
on page 407.
Editing Note Expression data in the Project Browser 
In the Project Browser, you can view and edit the MIDI 
controller events or VST 3 events of a MIDI note with Note 
Expression data (for further information about Note Ex
-
pression, see the chapter “Note Expression (Cubase 
only)” on page 428). 
To view and edit the Note Expression data content of a 
MIDI note, proceed as follows:
1.In the Project Structure list, select the Note Expres-
sion subitem of the MIDI note that you want to view or edit.
In the event display, all MIDI controllers or VST 3 events within the Note 
Expression data are listed.
2.In the event display, view and edit the parameter values. 
This allows you to move an event by entering a different Start value, for 
example. You can also delete single events to “thin out” the Note Expres-
sion data content by selecting them and pressing [Delete].
Filtering MIDI events
When you are editing MIDI in the Project Browser, the large 
number of different MIDI events displayed can make it hard 
to find the events you want to edit. The Filter pop-up menu 
allows you to select a single event type for display.
When this option is selected, only Controller events will be shown in 
the event display. To show all event types, select the top item (“---”) 
from the menu.
Creating MIDI parts
When a MIDI track is selected in the Project Structure list, 
you can create empty MIDI parts on the track by clicking 
the Add button. This will insert a part between the left and 
right locator.
Creating MIDI events
You can use the Project Browser to create new MIDI 
events:
1.Select a MIDI part in the Project Structure list.
2.Move the project cursor to the desired position for the 
new event.
3.Use the Add pop-up menu above the event display to 
select which type of MIDI event to add.
4.Click the Add button.
An event of the selected type is added to the part, at the project cursor 
position. If the cursor is outside the selected part, the event is added at 
the beginning of the part.
ÖIt is not possible to add MIDI controller events or 
VST
 3 events to Note Expression data.
Editing automation tracks
All kinds of Cubase automation (the automation tracks for 
MIDI, instrument, audio, group, and FX channel tracks, or 
the individual automation tracks for VST instruments, 
ReWire channels, or input (Cubase only) and output bus
-
ses) are handled in the same way in the Project Browser.  
						

							482
The Project Browser (Cubase only)
Each Automation item in the Project Structure list will have 
a number of subentries, one for each automated parameter. 
Selecting one of these parameters in the Project Structure 
list shows its automation events in the list:
You can use the two columns in the list to edit the position 
of the events and their values.
Editing the video track
When the video track is selected in the Project Structure 
list, the event display lists the video events on the track, 
with the following parameters:
Editing the marker track
Marker events have the following parameters:
You can insert markers on the marker track by selecting 
“Marker” or “Cycle Marker” from the Add pop-up menu 
and clicking the Add button. Regular markers will be 
added at the current project cursor position while cycle 
markers will be added between the current left and right 
locator positions.
ÖThe Project Browser only displays the default attributes.
For further information on markers, refer to the chapter 
“Using markers” on page 138.
Editing the tempo track
When the tempo track is selected in the Project Structure 
list, the event display shows the events on the tempo 
track, with the following parameters:
You can add new tempo events by clicking the Add but-
ton. This creates a jump-type event with the value 120 
bpm at the project cursor position. Make sure that there is 
no other tempo event at the current cursor position.
ColumnDescription
NameThe name of the video clip that the event refers to.
Start The start position of the event. Editing this value is the 
same as moving the event.
EndThe end position of the event. Editing this value is the 
same as resizing the event, and will automatically change 
the Length value as well.
LengthThe length of the event. Editing this value is the same as 
resizing the event, and will automatically change the End 
value as well.
OffsetThis determines “where in the video clip” the event starts.Note that the event cannot start before the start of the 
clip, or end after the end of the clip. Thus, if the event al-ready plays the whole video clip, the Offset cannot be ad-justed at all.
ColumnDescription
DescriptionThe name of the marker. This can be edited for all markers 
except the left and right locator.
Start The position of “regular” markers or the start position of 
cycle markers.
End The end positions of cycle markers. Editing this value is 
the same as resizing the cycle marker, and will automati-cally change the Length value as well.
Length The length of cycle markers. Editing this value is the same 
as resizing the marker, and will automatically change the 
End value as well.
IDThe number of the marker. For regular (non-cycle) mar-kers, this corresponds to the key commands used for 
navigating to the markers. For example, if a marker has 
ID
 3, pressing [Shift]-[3] on the computer keyboard will 
move the song position to that marker. By editing these 
values, you can assign the most important markers to key 
commands.
Note that you cannot edit the “L” and “R” marker IDs (left 
and right locator) or assign IDs 1 and 2 to markers (since 
these are reserved for the locators).
ParameterDescription
PositionThe position of the tempo event. You cannot move the 
first event on the tempo track.
TempoThe tempo value of the event.
TypeThis indicates whether the tempo jumps to the value of 
the event (“Jump” type) or whether it changes gradually 
from the previous tempo event, creating a ramp (“Ramp” 
type), see 
“Editing the tempo curve” on page 465.
Column Description 
						

							483
The Project Browser (Cubase only)
Editing time signatures
When “Signature track” is selected in the Project Structure 
list, the event display shows the time signature events in the 
project:
You can add new time signature events by clicking the 
Add button. This creates a 4/4 event, at the beginning of 
the bar closest to the project cursor position. Make sure 
that there is no other time signature event at the current 
cursor position.
Deleting events
The procedure for deleting events is the same for all differ-
ent track types:
1.Click on an event (or a part) in the Event display to se-
lect it.
2.Select Delete from the Edit menu or press [Delete] or 
[Backspace].
ParameterDescription
PositionThe position of the event. Note that you cannot move the 
first time signature event.
SignatureThe value (time signature) of the event. 
!Note that you cannot delete the first tempo event or 
the first time signature event. 
						

							38
Export Audio Mixdown 
						

							485
Export Audio Mixdown
Introduction
The Export Audio Mixdown function in Cubase allows you 
to mix down audio from the program to files on your hard 
disk in a number of formats. In the Channel Selection sec
-
tion, you can choose which channels (or busses) to export. 
Cubase only: By activating the “Channel Batch Export” 
option you can choose to mix down several channels in 
one go. For each channel, an individual file will be created.
The following channel types are available:
•Output channels
For example, if you have set up a stereo mix with tracks routed to a stereo 
output bus, mixing down that output bus will give you a mixdown file con-
taining the whole mix. Similarly, you can mix down a complete surround 
bus, either to a single multi-channel file or to one file per surround chan
-nel (by activating the Split Channels option) (Cubase only).
•Audio track channels (Cubase only)
This will mix down the channels for the tracks, complete with insert ef-fects, EQ, etc. This can be useful for turning a number of events into a 
single file, or to convert tracks with insert effects into audio files (that are 
less CPU-intensive). Simply export the track and re-import the file into 
the project.
•Any kind of audio-related Mixer channel (Cubase only)
This includes VST instrument channels, instrument tracks, effect return 
channels (FX channel tracks), group channels, and ReWire channels. 
There are many uses for this – for example, you can mix down an effect 
return track or turn individual ReWire channels into audio files.
Please note the following:
•The Export Audio Mixdown function mixes down the 
area between the left and right locators.
•When you mix down, you get what you hear – mutes, 
Mixer settings, record enable, and insert effects are taken 
into account.
Note though that you will only include the sound of the channels you se-
lect for mixdown. 
•MIDI tracks are not included in the mixdown!
To make a complete mixdown containing both MIDI and audio, you first 
need to record all your MIDI music onto audio tracks (by connecting the 
outputs of your MIDI instruments to your audio inputs and recording, as 
with any other sound source).
Mixing down to audio files
1.Set up the left and right locators to encompass the 
section you want to mix down.
2.Set up your tracks so that they play back the way you 
want.
This includes muting unwanted tracks or parts, making manual Mixer set-
tings and/or activating the R (Read) automation buttons for some or all 
Mixer channels.
3.Pull down the File menu and select “Audio Mixdown…” 
from the Export submenu.
The Export Audio Mixdown dialog opens.
4.In the Channel Selection section to the left, select the 
channels you want to mix down. The list contains all output 
and audio-related channels available in the project (see 
“About the Channel Selection section” on page 486).
Cubase only: Activate the Channel Batch Export option if you want to 
mixdown several channels at once.
5.In the File Location section at the top, you can set up 
the naming scheme for the exported files and select a path 
for the mixdown files.
For details about the naming options, see “About the File Location sec-
tion” on page 486.
6.Select an entry from the File Format pop-up menu and 
make additional settings for the file to be created.
This includes codec settings, meta data, sample rate, bit depth, etc. The 
available options depend on the selected file format, see “The available 
file formats” on page 489. 
						

							486
Export Audio Mixdown
7.In the Audio Engine Output section, specify whether 
you want to export all subchannels of a multi-channel bus 
as separate mono files (Split Channels), downmix all sub
-
channels to one mono file (Mono Downmix), or export only 
the left and right channels of a multi-channel bus to a ste
-
reo file (L/R Channels).
For details about the settings relating to the audio engine, see “About the Audio Engine Output section” on page 488.
8.Activate Realtime Export if you want the export to hap-
pen in realtime (see “About the Audio Engine Output sec-
tion” on page 488).
9.If you want to automatically import the resulting audio 
files back into Cubase, activate any of the checkboxes in 
the “Import into Project” section.
For details about the available options, see “About the Import into Project 
section” on page 488.
10.If you activate Update Display, the meters will be up-
dated during the export process.
This allows you to check for clipping, for example.
11.Click Export.
A dialog with a progress bar is displayed while the audio files are being 
created. To cancel the operation, you can click the Abort button.
•Cubase only: During the realtime export of a single 
channel, the Audition Volume fader is displayed in the 
progress dialog (see 
“About the Audio Engine Output 
section” on page 488). It allows you to adjust the Control 
Room volume. 
Note that this fader is only available if the Control Room is activated.
•If the “Close Window after Export” option is activated, 
the dialog will be closed automatically.
•If you have activated any of the options in the “Import 
into Project” section, the mixdown files will be imported 
back into the same or a new project.
When playing back the reimported file in the same Cubase project, mute 
the original tracks so that you only hear the mixdown.
The Export Audio Mixdown dialog
Below you will find detailed descriptions of the different 
sections of the dialog and the corresponding functions.
About the Channel Selection section
The Channel Selection section shows all output and au-
dio-related channels available in the project. These chan-
nels are organized in a hierarchical structure that allows 
you to easily identify and select the channels you want to 
export. The different channel types are listed below each 
other, with channels of the same type being grouped in a 
node (e.
 g. instrument tracks). 
•You can activate/deactivate channels by clicking on the 
checkboxes in front of the channel names.
•Cubase only: If Channel Batch Export is activated, you 
can also activate/deactivate all channels of the same type 
by clicking on the checkbox in front of the channel type 
entry.
•Cubase only: If Channel Batch Export is activated, you 
can select/deselect several channels in one go using the 
[Shift] and/or [Ctrl]/[Command] modifiers and then click
-
ing on any of the checkboxes for the highlighted channels.
Note that this toggles the activation status of a channel, i. e. all selected 
channels that were previously activated will be deactivated and vice versa.
If your project contains a large number of channels, it 
might get difficult to find the desired channels in the 
Channel Selection section. 
•To simplify the process of selecting several channels, 
you can filter the display. Simply type in the desired text 
(e.
 g. “voc” to show all tracks containing vocals) in the Fil-
ter field below the tree view.
About the File Location section
In the File Location section you can specify a name and a 
path for the exported files. Furthermore, you can define the 
naming scheme for the exported files. 
!If you set the export range in such a way that the ef-
fects applied to a preceding event (e. g. reverb) reach 
into the next, these will be heard in the mixdown (even 
though the event itself is not included). If you do not 
want this, you need to mute the first event before ex
-
porting. 
						

							487
Export Audio Mixdown
At the right of the Name and the Path fields there are two 
pop-up menus with a number of options:
Naming Options
•Select “Set to Project Name” to set the Name field to 
the project name.
•Activate the “Auto Update Name” option to add a num-
ber to the specified file name every time you click the Ex-
port button.
Path Options
•Select “Choose…” to open a dialog in which you can 
browse for a path and enter a file name. 
The file name will automatically be shown in the Name field.
•Select an entry from the Recent Paths section to reuse 
a path specified for a previous export.
This section is only shown after an export has been completed. With the 
“Clear Recent Paths” option you can delete all entries from the Recent 
Paths section.
•Activate the “Use Project Audio Folder” option to save 
the mixdown file in the project’s Audio folder.
Naming Scheme
Clicking the “Naming Scheme…” button opens a sepa-
rate pop-up window. Here, you can choose a number of 
elements that will be combined to form the file name. De
-
pending on the settings in the Channel Selection section, 
different elements are available.
The elements are defined as follows:
ÖBy combining the available naming elements, you can 
make sure that all the files of a batch are exported with 
unique names. If you have set up a naming scheme that 
would result in identical file names, a warning message 
appears when you click the Export button.
•To add an element, press the “+” button on the far right, 
and to remove an element from the naming scheme click 
the corresponding “-” button.
You can also remove an element by dragging it out of the Elements sec-tion.
•To rearrange the sequence, simply click on an element 
and drag it to a different position.
•To choose a different element for a certain position, 
click on the element name and select a new entry from the 
pop-up menu.
Each element can only be used once in a naming scheme. The pop-up 
menu therefore shows only those elements that are still available. 
Below the Elements section, you will find some additional 
options:
The field below these options shows a preview of what the 
resulting file names will look like.
ÖTo close the Naming Scheme pop-up window, simply 
click anywhere outside the pop-up window. The gener
-
ated name will now also be shown to the right of the 
“Naming Scheme…” button.
ElementDescription
NameThe name that you entered in the Name field (in the File 
Location section).
Mixer IndexThe number of the Mixer channel.
Channel TypeThe type of audio-related channel that is being exported.
Channel NameThe name of the exported channel.
Project NameThe name of the Cubase project.
Counter 
(Cubase only)This is only available for batch export. Use this to include 
an incrementing number in the generated files names in 
order to create unique file names.
OptionDescription
SeparatorAllows you to enter any character sequence to be used 
as a separator between the naming elements (e. g. a hy-phen enclosed in spaces).
Leading ZerosThis controls how many leading zeros the Counter and 
Mixer Index components will have. For example, if you set 
this to “2”, the numbers from 1 to 10 will be written as 
001 to 010.
Counter Start 
ValueHere you can enter a number that is used as the first 
Counter value.
Element Description 
						

							488
Export Audio Mixdown
About the File Format section
In the File Format section, you can select the file format for 
your mixdown files and make additional settings that are 
different for each file type. For details, see 
“The available 
file formats” on page 489.
About the Audio Engine Output section
The Audio Engine Output section contains all the settings 
related to the output of the Cubase audio engine. The fol
-
lowing options are available:
About the Import into Project section
In this section you will find several options for importing 
the resulting mixdown files back into the existing or into a 
new project:
•If you activate the Pool checkbox, the resulting audio file 
will automatically be imported back into the Pool as a clip.
Use the Pool Folder option to specify in which Pool folder the clip will 
reside.
•If you activate the Audio Track option as well, an audio 
event that plays the clip will be created and placed on a 
new audio track, starting at the left locator.
If you activate the Audio Track option, the Pool option will automatically 
be activated as well, and deactivating the Pool option also deactivates 
the Audio Track option.
•If you activate the “Create New Project” option, a new 
project is created that contains one audio track for each of 
the exported channels, as well as the signature and tempo 
track of the original project. Note that if this is activated, 
the Pool and Audio Track options are disabled.
The tracks will have the corresponding mixdown file as audio event. The 
track names will be identical with the export channel names. Note that 
the new project will be the active project.
ÖThe Create New Project option is only available if you 
have selected an uncompressed file format and the Use 
Project Audio Folder option is deactivated.
OptionDescription
Sample Rate 
(uncompressed 
file formats only)This setting determines the frequency range of the ex-ported audio – the lower the sample rate, the lower the 
highest audible frequency in the audio. In most cases, 
you should select the sample rate set for the project, 
since a lower sample rate will degrade the audio quality 
(mainly reducing the high frequency content) and a 
higher sample rate will only increase the file size, with
-out adding to audio quality. Also consider the future us-age of the file: If you plan to import the file into another 
application, for example, you should select a sample 
rate supported by that application.
If you are making a mixdown for CD burning, you should 
select 44.100 kHz, since this is the sample rate used on 
audio CDs.
Bit Depth 
(uncompressed 
file formats only)Allows you to select 8, 16, 24 bit or 32 bit (float) files. If 
the file is an “intermediate mixdown” that you plan to re-
import and continue working on in Cubase, we recom
-mend that you select the 32 bit (float) option.32 bit (float) is a very high resolution (the same resolu-tion as used internally for audio processing in Cubase), 
and the audio files will be twice the size of 16 bit files.
If you are making a mixdown for CD burning, use the 16 
bit option, as CD audio is always 16 bit.
In this case, we recommend dithering, see “Dithering” on page 193. Activate the UV-22HR dithering plug-in (see the sepa-rate PDF document “Plug-in Reference” for details). 
This reduces the effects of quantization noise and arti-facts from being introduced when converting the audio 
down to 16 bit. 8 bit resolution should only be used if 
required, since it results in limited audio quality. 8 bit 
audio may be suitable in some multimedia applications, 
etc.
Mono DownmixIn Cubase Artist, activate this f you want to downmix 
the two channels of a stereo bus to a single mono file. 
In Cubase, activate this if you want to downmix all the 
subchannels of a stereo or surround channel or bus to 
a single mono file. To avoid clipping, the following sum
-ming rules are applies:Stereo: The panning law as defined in the Project 
Setup dialog is applied (see “About the “Stereo Pan Law” setting” on page 157). Surround (Cubase only): The channels are summed and then divided through 
the number of channels used (in case of a 5.1. channel 
= (L+R+C+Lfe+Ls+Rs)/6).
Split ChannelsActivate this if you want to export all subchannels of a 
multi-channel bus as separate mono files. 
L/R ChannelsActivate this if you want to export only the left and right 
subchannels of a multi-channel bus into a stereo file.
Realtime ExportActivate this if you want the export to happen in real-time, in which case the process will take at least the 
same time as regular playback.
Some VST plug-ins, external instruments and effects 
require this in order to have enough time to update cor-rectly during the mixdown – consult the plug-in manu-facturers if uncertain.Cubase only: When Realtime Export is activated, the 
exported audio will be played back via the Control 
Room. Depending on the CPU and disk speed of your 
computer, it may not be possible to export all channels 
simultaneously if Realtime Export is activated. If an error 
occurs during the realtime export, the program will au
-tomatically stop the process, reduce the number of 
channels and start again. Afterwards the next batch of 
files is exported. This is repeated as often as needed to 
export all selected channels.
Due to this splitting of the export process in “runs”, the 
realtime export might take longer than the actual play-back would.
Option Description 
						

							489
Export Audio Mixdown
About the Import Options dialog
If you activate any of the options in the “Import into Project” 
section, the Import Options dialog will open for each ex
-
ported channel when the export is complete. For a detailed 
description of the options in this dialog see 
“About the Im-
port Medium dialog” on page 306. 
The available file formats
The following pages describe the different export file for-
mats, as well as their options and settings. 
• AIFF files (see “AIFF files” on page 489).
• AIFC files (see “AIFC files” on page 489).
• Wave files (see “Wave files” on page 490).
• Wave 64 files (see “Wave 64 files” on page 490).
• Broadcast Wave files (see “Broadcast Wave files” on page 
490).
• MP3 files (see “MPEG 1 Layer 3 files” on page 490).
• Ogg Vorbis files (see “Ogg Vorbis files” on page 490).
• Windows Media Audio Pro files (Windows only, see “Win-
dows Media Audio Pro files (Windows only)” on page 491). 
ÖMost of the settings described below for AIFF files are 
available for all file types. Where this is not the case, you will 
find additional information in the corresponding section.
MP3 Export (Cubase Artist only)
This version of Cubase provides a function for exporting 
your audio mixdown as mp3 files. This function is limited to 
20 trial encodings or a trial period of 30 days from the in
-
stallation date (whichever ends first). After this period, the 
function will be disabled until you purchase the mp3 en
-
coder for Cubase.
•When the mp3 format is selected and you click the Ex-
port button, a window opens showing you how many trial 
encodings you have left. You can upgrade to an unlimited 
mp3 export function by clicking the “Go to Online Shop” 
button in the dialog.
This will take you to Steinberg’s online shop where you can purchase the 
upgrade. Note that a working internet connection is required.
AIFF files
AIFF stands for Audio Interchange File Format, a standard 
defined by Apple Inc. AIFF files have the extension “.aif” 
and are used on most computer platforms.
For AIFF files the following options are available:
AIFC files
AIFC stands for Audio Interchange File Format Com-
pressed, a standard defined by Apple Inc. These files sup-
port compression ratios as high as 6:1 and contain tags in 
the header. AIFC files have the extension “.aifc” and are 
used on most computer platforms. 
AIFC files support the same options as AIFF files.
!Note that the Wave 64 file format is the only format 
that allows you to export files with a resulting size of 
more than 2
 GB.
OptionDescription
Insert Broad-cast Wave 
ChunkThis allows you to include information about the date 
and time of creation, a timecode position (allowing you 
to insert exported audio at the correct position in other 
projects, etc.) along with author, description and refer
-ence text strings in the exported file.Some applications may not be able to handle files with 
embedded info – if you get problems using the file in an-other application, deactivate the option and re-export.
Edit buttonBy clicking this button, the “Broadcast Wave Chunk” di-alog opens, where you can enter additional information 
that will be embedded in the exported files. Note that in 
the Preferences dialog (Record–Audio–Broadcast 
Wave page) you can enter default text strings for author, 
description and reference that will automatically be dis
-played in the “Broadcast Wave Chunk” dialog.
Insert iXML 
ChunkThis allows you to include additional project-related 
metadata (e. g. project name, author and project frame 
rate) in the exported file.
Some applications may not be able to handle files with 
embedded info – if you get problems using the file in an-other application, deactivate the option and re-export.Note: In the Project Setup dialog you will find the fields 
Author and Company that you can use to include the 
corresponding data in the iXML chunk. These fields are 
also available in the Preferences dialog (General–Per
-sonalization page). 
Insert Tempo 
DefinitionThis option is only available if “Insert iXML Chunk” is ac-tivated. When “Insert Tempo Definition” is activated, 
tempo information from the tempo track or the Definition 
tab of the Sample Editor is included in the iXML chunk 
of exported files. This is useful if you want to use the 
files in other projects where they need to adapt to the 
project tempo. 
						

							490
Export Audio Mixdown
Wave files
Wave files have the extension “.wav” and are the most 
common file format on the PC platform. 
Wave files support the same options as AIFF files and 
have one additional option:
•Don’t Use Wave Extensible Format
The Wave Extensible format contains additional metadata, such as the 
speaker configuration. It is an extension to the normal Wave format that 
some applications may not be able to handle. 
 
If you get problems using the Wave file in another application, activate 
this option and re-export.
Wave 64 files
Wave 64 is a proprietary format developed by Sonic 
Foundry Inc. In terms of audio quality, Wave 64 files are 
identical to standard Wave files, but in the file headers 
Wave 64 files use 64-bit values for addressing where 
Wave files use 32-bit values. The consequence of this is 
that Wave 64 files can be considerably larger than standard 
Wave files. Wave 64 is therefore a good file format choice 
for really long recordings (file sizes over 2
 GB). Wave 64 
files have the extension “.w64”.
Wave 64 files support the same options as AIFF files.
Broadcast Wave files
Concerning audio, Broadcast Wave files are the same as 
regular Wave or Wave 64 files, but with additional meta 
data. To create a Broadcast Wave file, select either Wave 
or Wave 64 as the file format and activate the Insert Broad
-
cast Wave Chunk option. Click Edit if you wish to edit the 
chunk information, otherwise the defaults as specified in the 
Preferences dialog (Record–Audio–Broadcast Wave 
page) will be used. Broadcast Wave files have the exten
-
sion “.wav”.
Broadcast Wave files support the same options as regular 
Wave files.
MPEG 1 Layer 3 files
MPEG 1 Layer 3 files have the extension “.mp3”. By use of 
advanced audio compression algorithms, MP3 files can 
be made very small, yet maintaining good audio quality.
In the File Format section, the following options are avail-
able for MPEG 1 Layer 3 files:
Ogg Vorbis files
Ogg Vorbis is an open source, patent-free audio encoding 
and streaming technology, offering compressed audio 
files (extension “.ogg”) of small size, but with compara
-
tively high audio quality.
In the File Format section you will find only one setting: the 
Quality fader. The Ogg Vorbis encoder uses variable bit 
rate encoding, and the Quality setting determines be
-
tween which limits the bit rate will vary. Generally speak-
ing, the higher the Quality setting, the higher the sound 
quality but also the larger the files.
OptionDescription
Bit Rate faderBy moving this fader, you can select a bit rate for the 
MP3 file. As a rule, the higher the bit rate, the better the 
audio quality and the larger the file. For stereo audio, 
128
 kBit/s is often considered to result in “good” audio 
quality.
Sample Rate 
pop-up menuOn this pop-up menu you can select a Sample Rate for 
the MP3 file.
High Quality 
Mode optionWhen this is activated, the encoder will use a different 
resampling mode, which can give better results de-pending on your settings. In this mode, you cannot 
specify the Sample Rate, but only the Bit Rate for the 
MP3 file.
Insert ID3 Tag 
optionThis allows you to include ID3 Tag information in the 
exported file. 
Edit ID3 Tag 
buttonWhen you click this, the ID3 Tag dialog opens, in which 
you can enter information about the file. This additional 
information will be embedded as text strings in the file, 
and can be displayed by most mp3 playback applica
-tions.