Steinberg Cubase Studio 4 Plug In Reference Studio Manual

							
Plug-in Reference 
						

							Original manual by Anders Nordmark
Revision: Cristina Bachmann, Heiko Bischoff, Marion Bröer, Sabine Pfeifer
The information in this document is subject to change without notice and does not represent a commitment on the part 
of Steinberg Media Technologies GmbH. The software described by this document is subject to a License Agreement 
and may not be copied to other media except as specifically allowed in the License Agreement. No part of this publica-
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Release Date: October 19, 2007
© Steinberg Media Technologies GmbH, 2007.
All rights reserved. 
						

							Table of Contents 
						

							4
Table of Contents
5The included effect plug-ins
6Introduction
6Delay plug-ins
9Distortion plug-ins
10Dynamics plug-ins
19EQ plug-ins
21Filter plug-ins
25Mastering – UV 22 HR (Cubase only)
25Modulation plug-ins
32Other plug-ins
34Restoration plug-ins
34Reverb plug-ins
36Spatial plug-ins
37Surround plug-ins (Cubase only)
37Tools plug-ins
41The included VST Instruments
42Introduction
42Prologue
42Sound parameters
47Modulation and controllers
52Spector (Cubase only)
52Sound parameters
54Modulation and controllers
60Mystic (Cubase only)
60Sound parameters
62Modulation and controllers
67HALionOne
69Embracer – Surround Pad Synthesizer
(Cubase only)
71Monologue – Monophonic Analog Modeling 
Synthesizer (Cubase only)
73Diagrams
75MIDI effects
76Introduction
76Arpache 5
77Arpache SX
78Autopan
79Chorder
80Compress
81Context Gate
82Density
82Micro Tuner
82MIDIControl
83MIDIEcho
84Note to CC
85Quantizer
85Step Designer
87Track Control
89Track FX
89Transformer
90Index 
						

							1
The included effect plug-ins 
						

							6
The included effect plug-ins
Introduction
This chapter contains descriptions of the included plug-in 
effects and their parameters.
In Cubase, the plug-in effects are arranged in a number of 
different categories. This chapter is arranged in the same 
fashion, with the plug-ins listed in separate sections for 
each effect category.
ÖMost of the included effects are compatible with 
VST3, this is indicated by an icon in front of the name of 
the plug-in as displayed in plug-in selection menus (for 
further information, see the chapter “Audio Effects” in the 
Operation Manual). 
Delay plug-ins
This section contains descriptions of the plug-ins in the 
“Delay” category.
ModMachine (Cubase only)
ModMachine combines delay modulation and filter fre-
quency/resonance modulation and can provide many in-
teresting modulation effects. It also features a Drive 
parameter for distortion effects.
The parameters are as follows:
Parameter Description
Delay This is where you specify the base note value for the de-
lay if tempo sync is on (1/1–1/32, straight, triplet or dot-
ted). If tempo sync is off, the delay time can be set freely 
in milliseconds.
Tempo sync 
Delay on/offThe button below the Delay knob turns tempo sync for 
the delay parameter on or off. If set to off, the delay time 
can be set freely with the Delay knob.
Rate The Rate parameter sets the base note value for tempo 
syncing the delay modulation (1/1 to 1/32, straight, triplet 
or dotted).
If tempo sync is off, the rate can be set freely with the 
Rate knob.
Tempo sync 
Rate on/offThe button below the Rate knob turns tempo sync for the 
rate parameter on or off. If set to off, the rate can be set 
freely with the Rate knob.
Width This sets the amount of delay pitch modulation. Note that 
although the modulation affects the delay time, the sound 
is mostly perceived as a vibrato or chorus-like effect.
Feedback This sets the number of repeats for the delay.
Drive This parameter adds distortion to the feeback loop. The 
longer the Feedback, the more the delay repeats become 
distorted over time.
Mix Sets the level balance between the dry signal and the ef-
fect. If ModMachine is used as a send effect, this should 
be set to maximum (100 %) as you can control the dry/ef-
fect balance with the send. 
Nudge Clicking the Nudge button once will momentarily speed 
up the audio coming into the plug-in, simulating an ana-
log tape nudge type sound effect. 
Signal path 
graphicYou can click on the Filter sections displayed in the 
graphic in the center of the plug-in to place the Filter sec-
tion either before or after the Drive and Feedback para-
meters in the signal path.
Output/Loop The Filter can either be placed in the feedback loop of the 
delay or in its output path (see above).
Filter type This toggle button allows you to select a filter type. Low-
pass/bandpass/hipass filter types are available.
Freq This sets the cutoff frequency for the filter. This is avail-
able only, if filter frequency LFO tempo sync is deacti-
vated and the Speed parameter (see below) is set to “0.
Speed This sets the speed of the filter frequency LFO modula-
tion. If tempo sync is activated the Speed parameter sets 
the base note value for tempo syncing the modulation (1/
1 to 1/32, straight, triplet or dotted).
If tempo sync is off, the rate can be set freely with the 
Speed knob. 
						

							7
The included effect plug-ins
MonoDelay
This is a mono delay effect that can either be tempo-based 
or use freely specified delay time settings. The delay can 
also be controlled from another signal source via the Side-
Chain input.
The parameters are as follows:
Range Lo/Hi These knobs specify the range (in Hz) of the filter fre-
quency modulation. Both positive (e.g. Lo set to 50 and Hi 
set to 10000) and negative (e.g. Lo set to 5000 and Hi set 
to 500) ranges can be set. If tempo sync is off and the 
Speed is set to zero, these parameters are inactive and the 
filter frequency is instead controlled by the Freq parameter.
Spatial This introduces an offset between the channels to create 
a stereo panorama effect for the filter frequency modula-
tion. Turn clockwise for a more pronounced stereo effect.
Q-Factor This controls the resonance of the filter. This is available 
only, if filter resonance LFO tempo sync is deactivated 
and the Speed parameter (see below) is set to “0. If 
tempo sync is on, the resonance is controlled by the 
Speed and Range parameters.
Speed This sets the speed of the filter resonance LFO modula-
tion. If tempo sync is activated, the Speed parameter sets 
the base note value for tempo syncing the modulation (1/1 
to 1/32, straight, triplet or dotted).
If tempo sync is off, the rate can be set freely with the 
Speed knob.
Range Lo/Hi These knobs specify the range of filter resonance modu-
lation. Both positive (e.g. Lo set to 50 and Hi set to 100) 
and negative (e.g. Lo set to 100 and Hi set to 50) ranges 
can be set. If tempo sync is off and the Speed is set to 
zero, these parameters are inactive and the filter reso-
nance is controlled by the Q-Factor parameter instead.
Spatial This introduces an offset between the channels to create 
a stereo panorama effect for the filter resonance modula-
tion. Turn clockwise for a more pronounced stereo effect. Parameter Description
Parameter Description
Delay This is where you specify the base note value for the delay 
if tempo sync is on (1/1–1/32, straight, triplet or dotted). If 
tempo sync is off, it sets the delay time in milliseconds.
Tempo sync
on/offThe button below the Delay Time knob is used to turn 
tempo sync on or off. If set to off, the delay time can be set 
freely with the Delay Time knob, without sync to tempo.
Feedback This sets the number of repeats for the delay.
Filter Lo This filter affects the feedback loop of the effect signal 
and allows you to roll off low frequencies from 10 Hz up 
to 800 Hz. The button below the knob activates/deacti-
vates the filter.
Filter Hi This filter affects the feedback loop of the effect signal 
and allows you to roll off high frequencies from 20 kHz 
down to 1.2 kHz. The button below the knob activates/
deactivates the filter.
Mix Sets the level balance between the dry signal and the ef-
fect. If MonoDelay is used as a send effect, this should be 
set to maximum as you can control the dry/effect balance 
with the send. 
Side-Chain
on/offWhen this is activated, the delay can be controlled by a 
signal routed to the Side-Chain input. When the side-
chain signal exceeds the threshhold the delay repeats are 
silenced. When the signal drops below the threshold the 
delay repeats reappear. For a description of how to set 
up Side-Chain routing, see the chapter “Audio effects” in 
the Operation Manual. 
						

							8
The included effect plug-ins
PingPongDelay
This is a stereo delay effect that alternates each delay re-
peat between the left and right channels. The effect can 
either be tempo-based or use freely specified delay time 
settings.
The parameters are as follows:
StereoDelay
StereoDelay has two independent delay lines which either 
use tempo-based or freely specified delay time settings. 
The parameters are as follows:
Parameter Description
Delay This is where you specify the base note value for the delay 
if tempo sync is on (1/1–1/32, straight, triplet or dotted). If 
tempo sync is off, it sets the delay time in milliseconds.
Tempo sync 
on/offThe button below the Delay Time knob is used to turn 
tempo sync on or off. If set to off, the delay time can be set 
freely with the Delay Time knob, without sync to tempo.
Feedback This sets the number of repeats for the delay.
Filter Lo This filter affects the feedback loop and allows you to roll 
off low frequencies up to 800 Hz. The button below the 
knob activates/deactivates the filter. 
Filter Hi This filter affects the feedback loop and allows you to roll 
off high frequencies from 20 kHz down to 1.2 kHz. The 
button below the knob activates/deactivates the filter.
Spatial This parameter sets the stereo width for the left/right re-
peats. Turn clockwise for a more pronounced stereo 
“ping-pong” effect.
Mix Sets the level balance between the dry signal and the ef-
fect. If PingPongDelay is used as a send effect, this 
should be set to maximum as you can control the dry/ef-
fect balance with the send. 
Side-Chain 
on/offWhen this is activated, the delay can be controlled by a 
signal routed to the Side-Chain input. When the side-
chain signal exceeds the threshhold, the delay repeats are 
silenced. When the signal drops below the threshold, the 
delay repeats reappear. For a description of how to set up 
Side-Chain routing, see the chapter “Audio effects” in the 
Operation Manual.
Parameter Description
Delay 1 This is where you specify the base note value for the delay, 
if tempo sync is on (1/1–1/32, straight, triplet or dotted). If 
tempo sync is off, it sets the delay time in milliseconds.
Delay 2 As above.
Tempo sync 
on/offThe buttons below each respective Delay knob are used 
to turn tempo sync on or off for the respective delay. If set 
to off, the delay time can be set freely with the Delay Time 
knobs.
Feedback 
1 & 2This sets the number of repeats for each delay.
Filter Lo This filter affects the feedback loop and allows you to roll 
off low frequencies up to 800 Hz. The button below the 
knob activates/deactivates the filter. 
Filter Hi This filter affects the feedback loop and allows you to roll 
off high frequencies from 20 kHz down to 1.2 kHz. The 
button below the knob activates/deactivates the filter.
Pan1 & 2 This sets the stereo position for each delay.
Mix Sets the level balance between the dry signal and the ef-
fect. If StereoDelay is used as a send effect, this should 
be set to maximum (100 %) as you can control the dry/ef-
fect balance with the send. 
Side-Chain
on/offWhen this is activated, the delay can be controlled by a 
signal routed to the Side-Chain input. When the side-
chain signal exceeds the threshhold, the delay repeats 
are silenced. When the signal drops below the threshold, 
the delay repeats reappear. For a description of how to 
set up Side-Chain routing, see the chapter “Audio ef-
fects” in the Operation Manual. 
						

							9
The included effect plug-ins
Distortion plug-ins
This section contains descriptions of the plug-ins in the 
“Distortion” category.
AmpSimulator
AmpSimulator is a distortion effect, emulating the sound 
of various types of guitar amp and speaker cabinet combi-
nations. A wide selection of amp and cabinet models is 
available. 
The parameters are as follows:
DaTube
This effect emulates the characteristic warm, lush sound 
of a tube amplifier.
The parameters are as follows:
Distortion
Distortion will add crunch to your tracks.
The parameters are as follows:
Parameter Description
Drive Governs the amount of amp overdrive. 
Bass Tone control for the low frequencies. 
Middle Tone control for the mid frequencies.
Treble Tone control for the high frequencies.
Presence Use this to boost or damp the higher frequencies.
Volume This controls the overall output level.
Amplifier This allows you to select between various amplifier mod-
els. Click on the currently selected amplifier name to 
open a pop-up with all the available amplifier models. 
This section can be bypassed by selecting “No Amp.
Cabinet Various speaker cabinet models. Click on the currently 
selected cabinet name to open a pop-up with all the 
available amplifier models.This section can be bypassed 
by selecting “No Speaker.
Damping Lo/Hi Further tone controls for shaping the sound of the se-
lected speaker cabinet. Click on the values, enter a new 
value and press the [Enter] key.
Parameter Description
Drive Regulates the pre-gain of the “amplifier”. Use high values 
if you want an overdriven sound just on the verge of 
distortion.
Balance This controls the balance between the signal processed 
by the Drive parameter and the dry input signal. For max-
imum drive effect, set this to its highest value.
Output Adjusts the post-gain, or output level, of the “amplifier”.
Parameter Description
Drive Increases the distortion amount.
Feedback This parameter feeds part of the output signal back to the 
effect input, increasing the distortion effect.
Tone Lets you select a frequency range to which to apply the 
distortion effect.
Spatial Changes the distortion characteristics of the left and 
right channel, thus creating a stereo effect.
Output Raises or lowers the signal going out of the effect. 
						

							10
The included effect plug-ins
SoftClipper (Cubase only)
This effect adds soft overdrive, with independent control 
over the second and third harmonic.
The parameters are as follows:
Dynamics plug-ins
This section contains descriptions of the plug-ins in the 
“Dynamics” category.
Compressor
Compressor reduces the dynamic range of the audio, 
making softer sounds louder or louder sounds softer, or 
both. Compressor features separate controls for thres-
hold, ratio, attack, hold, release and make-up gain para-
meters. Compressor features a separate display that 
graphically illustrates the compressor curve shaped ac-
cording to the Threshold and Ratio parameter settings. 
Compressor also features a Gain Reduction meter that 
shows the amount of gain reduction in dB, Soft knee/Hard 
knee compression modes and a program-dependent Auto 
feature for the Release parameter. 
The available parameters work as follows:Parameter Description
Input Regulates the pre-gain. Use high values if you want an 
overdriven sound just on the verge of distortion.
Mix Setting Mix to 0 means that no processed signal is added 
to the original signal.
Output Adjusts the post-gain, or output level.
Second This allows you to adjust the amount of the second har-
monic in the processed signal.
Third This allows you to adjust the amount of the third harmonic 
in the processed signal.
Parameter Description
Threshold 
(-60 to 0 dB)This setting determines the level where Compressor “kicks 
in”. Signal levels above the set threshold are affected, but 
signal levels below are not processed.
Ratio
(1:1 to 8:1)Ratio determines the amount of gain reduction applied to 
signals over the set threshold. A ratio of 3:1 means that for 
every 3 dB the input level increases, the output level will in-
crease by only 1 dB.
Soft Knee
(On/Off)If this is off, signals above the threshold will be compressed 
instantly according to the set ratio (hard knee). When Soft 
Knee is activated, the onset of compression will be more 
gradual, producing a less drastic result.
Make-up 
(0–24 dB or 
“Auto mode)This parameter is used to compensate for output gain loss, 
caused by compression. If the Auto button is activated, the 
knob becomes dark and the output is instead automatically 
adjusted for gain loss.