Steinberg Cubase LE Operation Manual

							CUBASE LEAudio processing and functions 11 – 221
Fade In and Fade Out
These function are described in the chapter “Fades and Crossfades” 
(see page 116).
Gain
Allows you to change the gain (level) of the selected audio. The dialog 
contains the following settings:
Gain
This is where you set the desired gain, between –50 and +20dB. The 
setting is also indicated below the Gain display as a percentage.
Clip detection text
If you use the Preview function before applying the processing, the 
text below the slider indicates whether the current settings result in 
clipping (audio levels above 0 dB). If that is the case, lower the Gain 
value and use the Preview function again.
•If you want to increase the level of the audio as much as possible with-
out causing clipping, you should use the Normalize function instead 
(see page 224).
Pre- and Post-Crossfade
See page 220. 
						

							CUBASE LE11 – 222 Audio processing and functions
Merge clipboard
This functions mixes the audio from the clipboard into the audio se-
lected for processing, starting at the beginning of the selection.
❐For this function to be available, you need to have Cut or Copied a range 
of audio in the Sample Editor first.
The dialog contains the following settings:
Sources mix
Allows you to specify a mix ratio between the Original (the audio se-
lected for processing) and the Copy (the audio on the clipboard).
Pre- and Post-Crossfade
See page 220. 
						

							CUBASE LEAudio processing and functions 11 – 223
Noise Gate
Scans the audio for sections weaker than a specified threshold level, 
and replaces them with silence. The dialog contains the following set-
tings:
Threshold
The level below which you want audio to be silenced. Levels below 
this value will close the gate.
Attack Time
The time it takes for the gate to open fully after the audio level has ex-
ceeded the threshold level.
Min. Opening Time
This is the shortest time the gate will remain open. If you find that the 
gate opens and closes too often when processing material that varies 
rapidly in level, you should try raising this value.
Release Time
The time it takes for the gate to close fully after the audio level has 
dropped below the threshold level. 
						

							CUBASE LE11 – 224 Audio processing and functions
Linked Channels
This is available for stereo audio only. When it is activated, the Noise 
Gate is opened for both channels as soon as one or both channels ex-
ceed the Threshold level. When Linked Channels is deactivated, the 
Noise Gate works independently for the left and right channel.
Dry/Wet mix
Allows you to specify a mix ratio between “dry” and processed sound.
Pre- and Post-Crossfade
See page 220.
Normalize
The Normalize function allows you to specify the desired maximum 
level of the audio. It then analyzes the selected audio and finds the 
current maximum level. Finally it subtracts the current maximum level 
from the specified level, and raises the gain of the audio by the result-
ing amount (if the specified maximum level is lower than the current 
maximum, the gain will be lowered instead). A common use for Nor-
malizing is to raise the level of audio that was recorded at too low an 
input level. The dialog contains the following settings:
Maximum
The desired maximum level for the audio, between –50 and 0dB. The 
setting is also indicated below the Gain display as a percentage.
Pre- and Post-Crossfade
See page 220. 
						

							CUBASE LEAudio processing and functions 11 – 225
Phase Reverse
Reverses the phase of the selected audio, turning the waveform “up-
side down”. The dialog contains the following settings:
Phase Reverse on
When processing stereo audio, this pop-up menu allows you to spec-
ify which channel(s) should be phase reversed.
Pre- and Post-Crossfade
See page 220.
Pitch Shift
This function allows you to change the pitch of the audio with or with-
out affecting its length. You can also create “harmonies” by specifying 
several pitches, or apply pitch shift based on a user specified enve-
lope curve. 
						

							CUBASE LE11 – 226 Audio processing and functions
When the “Transpose” tab is selected, the dialog contains the follow-
ing parameters:
Keyboard display
This offers a way to specify the transpose interval in semitones, and 
gives a graphic overview of the transposition setting.
•The “root note” is indicated in red.
This has nothing to do with the actual key or pitch of the original audio, it just provides 
a way to display transpose intervals. If you like, you can change the root note by using 
the settings to the right below the keyboard display, or by pressing [Alt]/[Option] and 
clicking in the keyboard display.
•To specify a transpose interval, click on one of the keys.
The key is indicated in blue, and the program plays test tones in the base pitch and 
transpose pitch, to give you an audible confirmation.
•If “Multi Shift” is activated (see below), you can click on several keys 
to create “chords”.
Clicking on a blue (activated) key removes it.
Transpose settings
The “Semitones” and “Fine tune” settings allow you to specify the 
amount of pitch shift. You can transpose the audio ±16 semitones, 
and fine tune it by ±200 cents (hundredths of semitones).
Volume
Allows you to lower the volume of the pitch shifted sound.
Multi Shift
When this is activated, you can add more than one transpose value, 
creating multi-part harmonies. This is done by adding intervals in the 
keyboard display, as described above.
•If the intervals you add make up a standard chord, this chord is dis-
played to the right.
Note however, that to include the base pitch (the original, untransposed sound) in the 
processed result, you need to click the base key in the keyboard display as well, so 
that it is displayed in blue. 
						

							CUBASE LEAudio processing and functions 11 – 227
Listen Key/Chord button
Clicking this button plays a test tone, pitched according to the acti-
vated interval key on the keyboard display. If “Multi Shift” is activated, 
this button is called “Listen Chord”, and plays all activated intervals, as 
a chord.
Pitch Shift Base
This allows you to set the root note (the red key in the keyboard dis-
play). This has no actual relation to the pitch of the audio material, but 
should be viewed as an aid for easily setting up intervals and chords.
Accuracy
Set this parameter according to whether the rhythmic feel of the audio 
material has a high priority or not. If you set this to a high value (drag 
the slider to the right), the timing and rhythmic feel will be preserved 
as accurately as possible. If you set it to a low value, the tonal quality 
gets priority, allowing slight changes in timing.
Algorithm
Sets the Quality mode to Timebandit. 
Formant Mode
If you are processing vocal material, you should activate this option in 
order to preserve the vocal characteristics of the pitch shifted audio.
Time Correction
When this is activated, the pitch shift process will not affect the length 
of the audio. When this is deactivated, raising the pitch will shorten the 
audio section and vice versa, much like changing the playback speed 
on a tape recorder. 
						

							CUBASE LE11 – 228 Audio processing and functions
Using envelope based Pitch Shift
When the “Envelope” tab is selected, you can specify an envelope 
curve on which the pitch shift should be based. This allows you to cre-
ate pitch bend effects, pitch shift different sections of the audio by dif-
ferent amounts, etc.
Envelope display
Shows the shape of the envelope curve, over the waveform image of 
the audio selected for processing. Envelope curve points above the 
center line indicate positive pitch shift, while curve points below the 
center line indicate negative pitch shift. Initially, the envelope curve will 
be a horizontal, centered line, indicating zero pitch shift.
•You can click on the curve to add points, and click and drag existing 
points to change the shape. To remove a point from the curve, drag it 
outside the display. 
						

							CUBASE LEAudio processing and functions 11 – 229
Curve Kind
These buttons determine whether the envelope curve should consist 
of spline curve segments (left button) or linear segments (right button).
Linear segment envelope.
The same envelope with spline curve segments selected.
Range
This parameter determines the vertical pitch range of the envelope. If 
this is set to “4”, moving a curve point to the top of the display corre-
sponds to pitch shifting by + 4 semitones. The maximum range is +/- 16 
Semitones.  
						

							CUBASE LE11 – 230 Audio processing and functions
Transpose and Fine Tune
Allows you to adjust the value of a curve point numerically:
1.Click on a curve point to select it.
The selected point is shown in red.
2.Adjust the Transpose and Fine Tune parameters to change the pitch 
of the curve point in semitones and cents, respectively.
Pitch Shift Mode
These are the same parameters as on the Transpose tab, see page 
227.
Example
Let’s say that you wish to create a pitch bend effect, so that the pitch 
is raised linearly by exactly 2 semitones in a specific part of the se-
lected audio.
1.Remove all curve points by clicking the Reset button.
2.Select a linear curve by clicking the right Curve Kind button.
3.Create a point where you want the pitch bend to start by clicking on 
the envelope line.
Since this is the starting point for the pitch bend, you want its pitch to be zero (the enve-
lope line should still be straight). If necessary, use the Fine Tune parameter to set the 
curve point to 0 cents, because this point governs the start point, where you want the 
pitch transition to begin.
4.Create a new curve point at the horizontal position where you want 
the pitch bend to reach the full value.
This curve point determines the rise time of the pitch bend effect, i.e. the further away 
from the starting point the new point is positioned, the longer it will take for the pitch 
bend to reach the full value, and vice versa.
5.Make sure the Range parameter is set to 2 semitones or higher.
6.With the second point still selected, use the Transpose and Fine Tune 
parameters to set the pitch to exactly 2 semitones.
7.Create a new curve point to set the duration of the pitch bend, i.e. the 
time the pitch should remain transposed by 2 semitones.