Steinberg Cubase SX/SL 3 Audio Effects And VSTi Manual

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Vocoder
The Vocoder can apply sound/voice characteristics taken from one 
signal source, called the “modulator” and apply this to another source, 
called the “carrier”. A typical application of a vocoder is to use a voice 
as a modulator and an instrument as a carrier, making the instrument 
“talk”. A vocoder works by dividing the source signal (modulator) into 
a number of frequency bands. The audio attributes of these frequency 
bands can then be used to modulate the carrier.
The Vocoder has a built-in carrier (basically a simple polyphonic syn-
thesizer) but you can also use an external carrier, see page 62.
Setting up – using MIDI
In this mode, the Vocoder is set up slightly differently than other plug-
in effects. This is because this setup requires both an audio signal (as 
the modulator source) and a MIDI input (to play the carrier) to func-
tion. To set up for using an external carrier, see page 62.
To set up for use, proceed as follows:
1.Select a source for the modulator.
The modulator source can be audio material from any audio track, or even a live audio 
input routed to an audio track (provided you have a low latency audio card). 
•Good modulator source material are talking or singing voices or per-
cussive sounds, e. g. drum loops.
Static pads or soft ambient material are generally less appropriate for use as modula-
tors, but there are no absolute rules as to what could be used as a modulator source.  
						

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2.Select the Vocoder as an insert effect for the audio channel with the 
modulator signal.
3.Make sure that the Vocoder Mode is set to “MIDI”.
4.Select a MIDI track.
This can be an empty MIDI track, or a MIDI track containing data, it doesn’t matter. How-
ever, if you wish to play the Vocoder in real-time – as opposed to having a recorded part 
playing it – the track has to have monitoring activated (or be record enabled) for the Vo-
coder to receive the MIDI output.
5.Select “Vocoder” from the MIDI “out:” pop-up menu for the MIDI track.
The MIDI Output from the track is now routed to the Vocoder. There is an indicator on 
the Vocoder panel below the Mode switches that blinks when receiving MIDI.
That concludes setting up – you are now ready to start vocoding! 
What you do next depends on whether you are using live or recorded 
audio as the modulator source and whether you are using real-time or 
recorded MIDI as the carrier input. We will assume for the purposes 
of this manual that you are using recorded audio as the modulator, 
and play the carrier in real-time.
6.Make sure the MIDI track is record enabled and start playback.
7.Now play a few notes on your MIDI keyboard.
As you can hear, the audio track material, or rather its formant characteristics, is now 
applied to the Vocoder’s built-in sound source!
Setting up – using an external carrier
There are two modes for using an external carrier: 
• “Ext” mode is when the carrier and the modulator can be any two audio sources.
The synth section is disabled and grayed out when this mode is selected. MIDI input 
and the Gap Thru Vocoder parameter are also disabled.
• “MIDI+Ext” mode mixes the audio carrier with the Vocoder’s synth sound.
This is described on page 63. 
						

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To use an external carrier instead of the built-in synth (“Ext mode”), 
you set up as follows:
1.Create a Group channel from the Add Track submenu on the Project 
menu.
2.Open an audio file you wish to use as the carrier source and place it 
on an empty audio track.
3.Pan the audio channel full right in the Mixer or in the Inspector.
4.Route the output of the audio channel to the group.
5.Open an audio file you wish to use as the modulator source and place 
it on another empty audio track.
Events on the two audio tracks (carrier and modulator) have to play back simultaneously 
for the Vocoder to work.
6.Pan the modulator audio channel full left in the Mixer or in the Inspector.
7.Route the output of the modulator audio channel to the group.
8.Select the Vocoder as an insert effect for the group channel.
9.Open the Vocoder panel and activate the “Ext.” Mode button.
10.If you now start playback, the carrier channel will be modulated by the 
modulator channel!
Note that the synth section on the left half of the Vocoder panel and the “Gap Thru” 
parameter are now disabled.
Setting up – using an external carrier plus MIDI
Setting up is the same as for using an external carrier, except that a 
MIDI track with its output routed to the Vocoder should also be 
present. The MIDI track can either play the Vocoder synth in real time 
or from prerecorded parts. Make sure that monitoring (or record en-
able) is activated for the track so that the Vocoder synth will receive 
MIDI played in real time.
•Set up as described, and activate “MIDI+Ext.” mode on the Vocoder 
panel.
Any incoming MIDI now triggers the Vocoder synth, and the synths output is mixed 
with the audio carrier signal. 
						

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Vocoder parameters
The Vocoder parameters govern the general sound quality of the 
vocoded sound.
Parameter Description
Number of 
BandsThis governs how many frequency bands the modulator signal is di-
vided into (2-24). Fewer bands will provide a thinner more resonant 
sound, whereas using more bands will make the sound fuller and 
more intelligible.
Bandwidth This sets the bandwidth for the frequency bands, which affects the 
overall timbre. Very narrow bandwidth settings will produce a thin, 
whistle-like sound. 
Min./Max. Freq. These parameters set the minimum and maximum frequency limits for 
the Vocoder, respectively.
log/lin Log/Lin controls how the frequency bands are spaced between the 
minimum and maximum frequencies. Log = equal spacing in octaves, 
Lin = equal spacing in Hz. This affects the basic timbre of the Vocoder.
Env.Speed This determines the attack and release times of the Vocoder envelope. 
Fast settings will cause the modulator signal to trigger the Vocoder in-
stantly, longer settings will gradually increase the attack/release times, 
providing a more subtle Vocoder effect. If set to “HOLD” the modulator 
is “frozen”, and doesn’t affect the carrier synth at all.
High Thru This lets through high frequencies around the “S” frequency from the 
original input signal while notes are played.
Talk Thru Adjusts the level of the original input signal passed to the Vocoder 
output while notes are played.
Gap Thru Gap Thru (only available in MIDI mode) sets the level of the original in-
put signal that is passed to the Vocoder output when no MIDI notes 
are being played. This lets you apply the Vocoder to a vocal track add-
ing vocoded parts just where you want them.
Output This controls the output level of the Vocoder.
Emphasis This is a highpass filter, gradually cutting lower frequencies while let-
ting high frequencies pass. 
						

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Vocoder synth parameters
If the built-in synthesizer is the carrier, it is the sound of this instrument 
that the modulator source is applied to. The synth is polyphonic with 
up to 8 voices and features 2 oscillators per voice. The synth has the 
following parameters:
Parameter Description
Voices This sets the number of voices for the synth (1-8).
Fine Tune Tunes the oscillators ± a semitone, in cents (100th of a semitone) steps.
Pitch Bend Sets the up/down range of the Pitch Bend in semitone steps (1-12).
Noise Adds white noise to the sound.
NoiseMod This makes the oscillators modulate the noise level. This gives the noise 
a rasping sound, turning “sss” into “zzz”.
P.Drift Adds random pitch variation to the oscillators.
P.Glide This makes the pitch glide between notes played. The parameter con-
trols the time it takes for the pitch to glide from one note to the next. 
P.Bright This is a lowpass filter that can be used to soften the tone of the oscilla-
tors. It does not affect the white noise generator.
P.Detune Allows you to detune one of the oscillators in cent steps.
LFO Rate Controls the LFO rate (for vibrato).
Vibrato Adds vibrato to the oscillators. This can also be controlled by using the 
Mod Wheel. 
						

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Restoration
This section contains descriptions of the plug-ins in the “Restoration” 
category.
Grungelizer
The Grungelizer adds noise and static to your recordings – kind of like 
listening to a radio with bad reception, or a worn and scratched vinyl 
record. The available parameters are as follows:
Parameter Description
Crackle This adds crackle to create that old vinyl record sound. The farther to 
the right you turn the dial, the more crackle is added.
RPM switch When emulating the sound of a vinyl record, this switch lets you set the 
RPM (revolutions per minute) speed of the record (33/45/78 RPM).
Noise This dial regulates the amount of static noise added.
Distort Use this dial to add distortion.
EQ Turn this dial to the right to cut off the low frequencies, and create a 
more hollow, lo-fi sound.
AC This emulates a constant, low hum of AC current.
Frequency 
switchThis sets the frequency of the AC current (50 or 60Hz), and thus the 
pitch of the AC hum.
Timeline This dial regulates the amount of overall effect. The farther to the right 
(1900) you turn this dial, the more noticeable the effect.  
						

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Reverb plug-ins
This section contains descriptions of the plug-ins in the “Reverb” cat-
egory.
Reverb A
Reverb A is a reverb plug-in which provides smooth, dense reverb 
effects. Reverb A has the following parameters:
Parameter Description
Mix Sets the level balance between the dry signal and the effect (wet). If 
Reverb A is used as a send effect, this should be set to maximum wet, 
as you can control the dry/wet balance with the send. 
Room Size This setting determines the “size” of the simulated room environment.
Predelay This parameter sets a delay between the direct sound and the reverb 
effect output. A short predelay before the reverb reduces reverb “clut-
ter” which blurs the sound, and makes the reverb effect more natural-
sounding.
Reverb Time This parameter sets the length of the reverb time.
Filter HighCut This filters out high frequencies for the reverb, which can make the re-
verb sound softer.
Filter LowCut This filters out the lower frequencies for the reverb. It can be used to 
reduce low frequency “rumble”.  
						

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Reverb B
The Reverb B provides reverb with low processor demands. It has the 
following parameters:
Parameter Description
Mix Sets the level balance between the dry signal and the effect. If Reverb B 
is used as a send effect, this should be set to maximum as you can con-
trol the dry/effect balance with the send.
Room Size Governs the “size” of the simulated room environment.
Predelay This parameter sets a delay between the direct sound and the reverb 
effect output. A short predelay before the reverb reduces reverb “clut-
ter” which blurs the sound, and makes the reverb effect more natural-
sounding.
Reverb Time This parameter sets the length of the reverb effect.
Damp This parameter “dampens” the higher frequencies, producing a rounder 
and smoother sounding reverb.  
						

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RoomWorks
RoomWorks is a highly adjustable reverb plug-in for creating realistic 
room ambience and reverb effects in stereo and surround formats. The 
CPU usage is adjustable to fit the needs of any system. From short 
room reflections to cavern-sized reverb, this plug-in delivers high qual-
ity reverberation. RoomWorks has the following parameters:
Parameter Description
High Freq Frequency at which the high shelving filter takes effect. Both the 
high and low filters EQ the input signal prior to reverb processing.
High Shelf Gain The amount of boost or cut for the high shelving filter.
Low Freq Frequency at which the low shelving filter takes effect.
Low Shelf Gain The amount of boost or cut for the low shelving filter.
Predelay The amount of time before the onset of reverb. This allows you to 
simulate larger spaces by increasing the time it takes for first re-
flections to reach the listener.
Time Reverb Time in milliseconds.
Hold Pressing this button freezes the reverb buffer in an infinite loop 
(yellow circle around button). You can create some interesting 
pad sounds using this feature.
Size This alters the delays times of early reflections to simulate larger 
or smaller spaces.
Diffusion This affects the character of the reverb tail. Higher diffusion is 
smoother while less diffusion can be clearer. This emulates chang-
ing the types of surfaces in a room (brick vs. carpet for instance).  
						

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Width This controls the width of the stereo image. At 100%, you get full 
stereo reverb. At 0%, the reverb is all in mono.
Efficiency This unique control determines how much of the CPU is used for 
RoomWorks. The lower the percentage of efficiency, the more 
CPU resources will be used. This will yield a higher quality reverb 
than higher percentage settings. Interesting effects can be cre-
ated with very high Efficiency settings (>90%). Experiment for 
yourself.
Export This button determines if during audio export RoomWorks will 
use the maximum CPU power for the highest quality reverb or 
not. You may wish to keep a higher efficiency setting for a desired 
effect during export. If you want the highest quality reverb during 
export make sure this is selected (yellow circle around button).
Variation Pressing this button will generate a new version of the same re-
verb program using altered reflection patterns. This is helpful when 
certain sounds are causing odd ringing or undesirable results. 
Creating a new variation will often solve these issues. There are 
1000 possible variations.
High Damping Freq This determines the frequency above which high frequency 
damping will occur.
High Damping 
AmountThis affects the decay time of high frequencies. Normal room re-
verb decays quicker in the high and low frequency range than in 
the midrange. Lowering the damping percentage will cause high 
frequencies to decay quicker. Damping percentage values above 
100% will cause high frequencies to decay longer than the 
midrange.
Low Damping Freq This determines the frequency below which low damping will 
occur.
Low Damping 
AmountThe amount of damping applied to the low frequencies. At 100%, 
no damping occurs. Values lower than 100% increase the amount 
of damping, reducing low frequencies over time. Values above 
100% have the opposite effect.
Envelope Amount This determines how much effect the envelope attack and re-
lease controls have on the reverb itself. Lower numbers have a 
more subtle effect while higher numbers sound more drastic. Parameter Description