Steinberg Cubase 7 User Manual

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Audio processing and functionsStatistics
5.If you move the mouse pointer over the graph, a cross-hair cursor follows the 
graph curve and the display in the upper right corner shows the frequency/note 
and level at the current position.
To compare the level between two frequencies, move the pointer to one of the 
frequencies, right-click once and move the pointer to the second frequency. The 
delta value (the difference in level between the current position and the right-click 
position) is displayed in the upper right corner (labeled “D”).
•If you analyze stereo audio and selected the “Stereo” option in the first dialog, the 
graphs for the left and right channel are superimposed in the display, with the left 
channel graph in white and the right channel graph in yellow.
The display in the upper right corner shows the values for the left channel – to see 
the right channel values, hold down [Shift]. An “L” or “R” is displayed to indicate 
which channel values are shown.
6.You can leave the window open or close it by clicking the “Close” button.
If you leave it open and the “Active” checkbox is ticked, the result of the next 
Spectrum Analysis will be displayed in the same window.
Statistics
The Statistics function on the Audio menu analyzes the selected audio (events, clips, 
or range selections) and displays a window with the following information:
Max.Sets the highest frequency shown in the graph. By adjusting the Min and 
Max values, you can take a closer look at a smaller frequency range.
ActiveWhen this is activated, the next Spectrum Analysis will appear in the 
same window. When deactivated, new Spectrum Analysis results will 
appear in separate windows.
Setting Description
ItemDescription
ChannelThe name of the analyzed channel.
Min. Sample ValueThe lowest sample value in dB.
Max. Sample ValueThe highest sample value in dB. 
						

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Audio processing and functionsAbout time stretch and pitch shift algorithms
About time stretch and pitch shift algorithms
In Cubase, time stretching and pitch shifting algorithms are used for numerous 
operations (e.
 g. the Time Stretch and Pitch Shift offline processes, in the Sample 
Editor, or by the Flatten function). Depending on the feature, some or all of the 
following algorithm presets are available.
élastique
The élastique algorithm is suited for both polyphonic and monophonic material. The 
algorithm has three modes, and there are three presets for each mode. The following 
modes are available: 
- élastique Pro – This mode offers the best audio quality, without formant 
preservation.
- élastique Pro Formant – This is the same as the Pro mode, but including formant 
preservation.
- élastique efficient – This mode requires less computing powers, but has a lower 
audio quality than the Pro modes.
These modes are available with the following variants:
- Time – Timing accuracy is favored over pitch accuracy.
- Pitch – Pitch accuracy is favored over timing accuracy.
- Tape – The pitch shift is locked to the time stretch (as when playing back a tape 
with varying speed). Stretching the audio material to a longer duration 
automatically decreases its pitch. This variant has no effect when used in 
combination with event transpose or the transpose track.
Peak AmplitudeThe largest amplitude in dB.
True PeakThe maximum absolute level of the audio signal waveform in the 
continuous time domain.
DC OffsetThe amount of DC Offset as a percentage and in dB, see “Remove 
DC Offset” on page 310.
ResolutionThe current calculated audio resolution. 
Estimated PitchThe estimated pitch.
Sample RateThe sample rate.
Average RMS 
(AES-17)The average loudness in accordance with the AES-17 standard.
Max. RMSThe highest RMS value.
Max. RMS All 
ChannelsThe highest RMS value of all channels.
Integrated 
LoudnessThe average loudness over the whole title in LUFS (Loudness Unit, 
referenced to Full Scale) in accordance with EBU R-128 that 
recommends to normalize audio at -23
 LUFS (±1 LU).
Loudness RangeThe dynamic range over the whole title in LU (Loudness Units). This 
value allows you to see if dynamic processing is needed. 
Max. True Peak 
LevelThe maximum value of the audio signal waveform in the continuous 
time domain. 
Max. Momentary 
LoudnessThe maximum value of all momentary loudness values, based on a 
time window of 400
 ms. The measurement is not gated. 
Max. Short-Term 
LoudnessThe maximum value of all short-term loudness values, based on a time 
window of 3
 s. The measurement is not gated. 
Item Description 
						

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Audio processing and functionsAbout time stretch and pitch shift algorithms
MPEX
MPEX is an alternative high-quality algorithm. You can choose between the following 
quality settings
: 
ÖWhen applying the Pitch Shift process, you can choose between the regular setting 
and a setting where the formants are preserved for each quality setting. 
Standard
The Standard algorithm is optimized for CPU efficient realtime processing. The 
following presets are available:
OptionDescription
MPEX –  
Preview Quality
Use this mode only for preview purposes.
MPEX –  
Mix Fast
This mode is a very fast mode for preview. This works best with 
composite music signals (mono or stereo material).
MPEX –  
Solo Fast
Use this mode for single instruments (monophonic material) and 
voice.
MPEX –  
Solo Musical
Same as above but higher quality.
MPEX –  
Poly Fast
Use this for processing monophonic and polyphonic material. This is 
the fastest setting that gives still very good results. You can use this 
for drum loops, mixes, chords.
MPEX –  
Poly Musical
Use this for processing monophonic and polyphonic material. This is 
the recommended MPEX default quality setting. You can use this for 
drum loops, mixes, chords.
MPEX –  
Poly Complex
This high quality setting is quite CPU-intensive and should be used 
only when processing difficult material or for stretch factors above 
1.3.
OptionDescription
Standard –  
Drums
This mode is best for percussive sounds, because it does not change 
the timing of your audio. Using this option with certain tuned 
percussion instruments may lead to audible artifacts. In this case, try 
the Mix mode as an alternative.
Standard – 
PluckedUse this mode for audio with transients and a relatively stable spectral 
sound character (e.
 g. plucked instruments).
Standard –  
Pads
Use this mode for pitched audio with slower rhythm and a stable 
spectral sound character. This minimizes sound artifacts, but the 
rhythmic accuracy is not preserved.
Standard –  
Vocals
This mode is suitable for slower signals with transients and a 
prominent tonal character (e.
 g. vocals).
Standard –  
Mix
This mode preserves the rhythm and minimizes the artifacts for 
pitched material that does not meet the above criteria (i.
 e. with a less 
homogenous sound character). 
This preset is selected by default for audio that is not categorized. 
						

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Audio processing and functionsAbout time stretch and pitch shift algorithms
If you select the “Standard – Custom” option, a dialog opens where you can manually 
adjust the three parameters that govern the sound quality of the time stretching:
Limitations
Applying time stretching or pitch shifting to audio material can lead to a degradation in 
audio quality and to audible artifacts. The result depends on many factors, such as the 
source material, the particular stretch and pitch operations applied, and the selected 
audio algorithm preset. 
As a rule of thumb, smaller changes in pitch or duration cause less degradation. 
However, there are additional issues one should be aware of when working with time 
stretching and pitch shifting algorithms.
ÖIn rare cases, editing warped audio events may cause discontinuities at the edit 
points. You can then try to move the edit point to a different position or bounce the 
audio event prior to editing.
Reverse playback and scrubbing
Most of the algorithms used for time stretching and pitch shifting only support forward 
playback. Reverse playback or scrubbing of warped audio events can lead to 
recurring artifacts in the playback.
Pitch and stretch factor limitations
Some algorithms may put limitations on the maximum degree of time stretching or 
pitch shifting supported. For the élastique presets, the maximum pitch shift factor is 4, 
and the stretch factor is limited to 10. In case your settings cause a higher factor, 
Cubase displays a warning message and deactivates the algorithm for the affected 
events until the settings are changed to stay within the valid bounds.
Standard – 
Custom This preset allows you to manually tweak the time stretching 
parameters (see below). By default, the settings that are shown when 
you open the dialog are those of the last preset used (except if the 
Solo preset has been selected, see below).
Standard –  
Solo
This mode preserves the timbre of the audio. Only use it for 
monophonic material (solo woodwind/brass instruments or solo 
vocals, monophonic synths or string instruments that do not play 
harmonies).
ParameterDescription
Grain sizeThe standard time-stretching algorithm splits the audio into small 
pieces called “grains”. This parameter determines the size of the 
grains. For material with many transients, use low grain size values for 
best results. 
OverlapOverlap is the percentage of the whole grain that will overlap with 
other grains. Use higher values for material with a stable sound 
character.
VarianceVariance is also a percentage of the whole length of the grains, and 
sets a variation in positioning so that the overlapping area sounds 
smooth. A Variance setting of 0 will produce a sound akin to time 
stretching used in early samplers, whereas higher settings produce 
more (rhythmic) “smearing” effects but less audio artifacts.
Option Description 
						

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The Sample Editor
Window overview
The Sample Editor allows you to view and manipulate audio by cutting and pasting, 
removing, or drawing audio data, and by processing audio (see the chapter 
“Audio 
processing and functions” on page 302). This editing is “non-destructive”: The actual 
file will remain untouched so that you can undo modifications or revert to the original 
settings at any time.
The Sample Editor also contains most of the realtime time stretching functions in 
Cubase. These can be used to match the tempo of audio to the project tempo (see 
“Warping audio” on page 341).
Another special feature of the Sample Editor is hitpoint detection. Hitpoints allow you 
to create audio slices, which can be useful in many situations, for example, if you want 
to change the tempo without introducing artifacts (see 
“Working with hitpoints and 
slices” on page 347).
The VariAudio features allow you to edit monophonic vocal recordings in pitch and 
time, as easily as editing MIDI in the Key Editor. In these realtime pitch modifications 
the transitions are kept so that the sound remains natural. The pitch detection and 
correction is “non-destructive”, i.
 e. you can always undo modifications or revert to the 
original versions, see 
“VariAudio (Cubase only)” on page 353 for details.
ÖThe term “loop” is used throughout this chapter and in this context usually means an 
audio file with a musical time base. That means that the length of the loop represents 
a certain number of bars and beats at a certain tempo. Playing the loop back at the 
right tempo in a cycle set to the correct length will produce a continuous loop without 
gaps. 
						

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The Sample EditorWindow overview
Opening the Sample Editor
To open the Sample Editor, double-click an audio event in the Project window or the 
Audio Part Editor, or double-click an audio clip in the Pool. You can have more than 
one Sample Editor window open at the same time.
ÖDouble-clicking an audio part in the Project window opens the Audio Part Editor, even 
if the part contains a single audio event only. The Audio Part Editor is described in a 
separate chapter, see 
“The Audio Part Editor” on page 371.
The toolbar
The toolbar contains various tools for selecting, manipulating and playing back audio, 
as well as options that affect the appearance and behavior of the Sample Editor. 
In the Musical Information section at the right of the toolbar, the estimated length of 
your audio file is displayed in bars and beats (PPQ) together with the estimated tempo 
and the time signature. These values are important for using Musical Mode, see 
“Musical Mode” on page 340.
The Algorithm pop-up menu allows you to select an algorithm for the realtime time 
stretching. For more information about the time stretch algorithm, see 
“Selecting an 
algorithm for realtime playback” on page 340.
•You can customize the toolbar by right-clicking it and using the context menu to 
hide or show items. For further information about configuring the toolbar, see 
“Using the Setup options” on page 700.
Show Audio Event
When the “Show Audio Event” button is activated on the toolbar, the section 
corresponding to the edited event is highlighted in the waveform display and the 
Overview. The sections of the audio clip not belonging to the event are shown with a 
gray background.
•You can adjust the start and end of the event in the clip by dragging the event 
handles in the waveform display.
Edit Active Audio Event Only
The “Edit Active Audio Event Only” button on the toolbar lets you restrict editing 
operations to the active audio event. For further information, see 
“Handling Several 
Audio Events” on page 338.
!This button is only available if you have opened the Sample Editor by double-clicking 
an audio event in the Project window or the Audio Part Editor. It is not available if you 
have opened the audio event from the Pool. 
						

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The Sample EditorWindow overview
Snap
The Snap function helps you to find exact positions when editing in the Sample Editor 
by restricting horizontal movement and positioning to certain grid positions. You turn 
Snap on or off by clicking the Snap button in the Sample Editor toolbar.
ÖThe Sample Editor Snap function is independent of the Snap setting in the Project 
window toolbar or other editors. It has no effect outside the Sample Editor.
Snap to Zero Crossing
When this option is activated, editing is done at zero crossings (positions in the audio 
where the amplitude is zero). This helps you to avoid pops and clicks, which might 
otherwise be caused by sudden amplitude changes.
ÖThe Sample Editor function “Snap to Zero Crossing” is independent of the same 
setting in the Project window toolbar or other editors. It has no effect outside the 
Sample Editor.
Auto-Scroll
When the Auto-Scroll option is activated on the Sample Editor toolbar, the waveform 
display will scroll during playback, keeping the project cursor visible in the editor.
ÖThis setting is independent of the Auto-Scroll setting in the Project window toolbar or 
other editors.
VariAudio Segment Colors
You can select a color scheme for VariAudio segments on the “VariAudio Segment 
Colors” pop-up menu on the toolbar. When working with several audio events, this 
makes it easier to see which segments belong to which event, see 
“Handling Several 
Audio Events” on page 338. 
						

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The Sample EditorWindow overview
The following options are available:
The info line
The info line is displayed below the toolbar. It shows information about the audio clip, 
such as the audio format and the selection range.
Initially, length and position values are displayed in the format specified in the Project 
Setup dialog. For information about configuring the info line, see 
“Using the Setup 
options” on page 700.
•To show or hide the info line, click the “Set up Window Layout” button on the 
toolbar and activate or deactivate the Info Line option.
The Sample Editor Inspector
On the left in the Sample Editor, you will find the Sample Editor Inspector. It contains 
tools and functions for working in the Sample Editor. 
For more information on the handling of the various Inspector tabs, see the section 
“Inspector handling” on page 43.
The Definition tab
The Definition tab helps you to adjust the audio grid and define the musical context of 
your audio. This is useful if you have an audio loop or audio file that you want to match 
to the project tempo, see 
“Warping audio” on page 341. If the Definition tab is open, 
a second ruler is displayed, showing the musical structure of your audio.
OptionDescription
AutoThis is the default mode. All segments belonging to the same audio 
event get the same color.
EventThe segments get the same color as the corresponding event in the 
Project window. 
PitchThe segments get different colors depending on their pitch.
Chord TrackSegments that match the corresponding chord or scale events on the 
chord track, are highlighted in a special color. For further information 
on the chord track, see 
“Working with the Chord Functions” on page 
542. 
						

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The Sample EditorWindow overview
The AudioWarp tab
The AudioWarp tab lets you perform timing settings for your audio. This includes 
applying swing and manually changing the rhythm of the audio by dragging beats to 
time positions in the grid (see 
“Applying swing” on page 344 and “Free Warp” on 
page 345).
•If you click the “Disable Warp Changes” button, any warp modifications you have 
made are disabled, allowing you to compare the modified sound with the original 
sound of your audio. 
However, the display does not change. The time stretch applied by the Musical 
Mode is not disabled by this. “Disable Warp Changes” is deactivated when you 
reset your warp operations or when you close the Sample Editor. It will not be 
recalled when reopening the Sample Editor.
The VariAudio tab (Cubase only)
On this tab you can edit single notes of your audio file and change their pitch and/or 
timing, in a way that is similar to the editing of MIDI notes (see 
“Understanding the 
waveform display in VariAudio” on page 353). Furthermore, you can extract MIDI from 
your audio (see “Extracting MIDI” on page 366).
•If you click the “Disable Pitch Changes” button, any pitch modifications you have 
made are disabled, allowing you to compare the modified sound with the original 
sound of your audio. 
However, the display does not change. “Disable Pitch Changes” is deactivated 
when you reset your pitch or warp operations or when you close the Sample 
Editor. It will not be recalled when reopening the Sample Editor.
Disable Warp Changes
Disable Pitch Changes 
						

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The Sample EditorWindow overview
The Hitpoints tab
On this tab, hitpoints can be marked and edited (see “Working with hitpoints and 
slices” on page 347). Hitpoints allow you to slice your audio and to create groove 
quantize maps from your audio. You can also create markers, regions, events, and 
warp markers based on hitpoints.
The Range tab
On this tab you will find functions for working with ranges and selections (see “Making 
selections” on page 335).
The Process tab
This tab regroups the most important audio editing commands from the Audio and 
Edit menus. For further information on the options contained in the Select Process 
and Select Plug-in pop-up menus, see the chapter 
“Audio processing and functions” 
on page 302.
The overview line
The overview line displays the whole clip. The section currently shown in the main 
waveform display of the Sample Editor (the viewing area) is indicated by a rectangle in 
the overview line, and the current selection range is also shown. If the “Show Audio 
Event” button is activated on the toolbar, event start/end and snap point are shown in 
the overview line.
•To view other sections of the clip, move the viewing area in the overview line.
Click in the lower half of the viewing area and drag to the left or right to move it.
Event Start Event End
Viewing areaSelection
Snap Point