Steinberg Cubase VST VST Plug-ins Manual

							 
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3. 
Select a MIDI Track. 
This can be an empty MIDI Track, or a MIDI Track containing data, it doesn’t matter. 
However, if you wish to play the MIDI Comb in real-time - as opposed to having a re-
corded Part playing it - the Track has to be selected for the effect to receive the MIDI 
output.
 
4. 
Open the Output column for the MIDI Track pop-up menu and select 
MIDI Comb. 
The MIDI Output from the Track is now routed to the MIDI Comb.
 
What to do next depends on whether you are using live or recorded 
audio and whether you are using real-time or recorded MIDI. We will 
assume for the purposes of this manual that you are using recorded 
audio, and play the MIDI in real-time.
Make sure the MIDI Track is selected and start playback. 
5. 
Now play a few notes on your MIDI keyboard. 
As you can hear, the audio track material is affected by what you play on your MIDI key-
board.
 
The MIDI Comb is polyphonic with up to 8 voices, i.e. you can play up to 
8 MIDI notes at once and each tone will produce a separate resonating 
 
tone.
 
You can now make settings for the MIDI Comb using the following pa-
rameters: 
Amp e.g.
 
Parameter Description 
Atk  Use this slider to set the attack time of the resonant tones cre-
ated by the comb filter - i.e how soon they will start to resonate 
after being triggered by MIDI notes. The farther down you drag 
the slider, the slower the attack.
Rel  This controls the release time of the resonant tones created by 
the comb filter - i.e. how soon the sound will be cut off. The far-
ther up you drag the slider, the longer the sound will resonate. 
						

							 
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Key Velocity Modifiers
Feedback
 
Parameter Description 
Level This determines how the filter responds to MIDI notes with differ-
ent velocity values. At the middle setting, all tones produced by 
the filter will sound at an equal level regardless of the velocity val-
ues of the MIDI notes that trigger them. If you move the slider up-
wards, MIDI notes with higher velocity values will produce louder 
comb filter tones. Conversely, moving the slider downwards 
causes the level of the filter tones to increase with lower MIDI 
note velocities.
Res  This affects the resonance (feedback) of the produced tones de-
pending on the velocity value of the MIDI notes that trigger them. 
In the middle position, the resonance is unaffected regardless of 
velocity. By dragging the slider upwards, tones triggered by MIDI 
notes with a high velocity value will get increased resonance. By 
dragging the slider downwards, tones triggered by MIDI notes 
with a low velocity value will become more resonant.
HPF & LPF The MIDI Comb features both a High-Pass filter and a Low-Pass 
filter (see “Filters” below) that can be used for “filtering out” cer-
tain frequencies of the resonating tones according to a certain 
set filter cutoff frequency. These two sliders determine how much 
the High-Pass and Low-Pass filters should be affected by the 
MIDI note velocity values. Positive values cause higher velocities 
to increase the effect of the filters, negative values cause higher 
velocities to decrease the effect. 
Parameter Description 
Feedback This slider governs the amount of effect output from the MIDI 
Comb that is fed back in again. The more effect feedback, the 
more complex the sound. Drag the slider upwards to increase 
feedback. 
						

							 
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Filters
 
 
 
Output
 
Parameter Description 
LP Cut-off Use this to set the frequency threshold of the Low-Pass Filter. 
This filter cuts off all of the high frequencies relative to the set 
threshold. The farther up you drag the slider, the more of the high 
frequencies will be allowed to pass through. 
HP Cut-off Use this to set the frequency threshold of the High-Pass Filter. 
This filter cuts off all of the low frequencies relative to the set 
threshold. The farther down you drag the slider, the more of the 
low frequencies will be allowed to pass through.  
Parameter Description 
Mix Use this to set the balance between the original, unprocessed 
signal and the signal affected by the MIDI Comb. In the middle 
position, they are equally mixed. Drag the slider upwards for a 
more dominant effect sound and vice versa.
Gain This controls the output level from the MIDI Comb. Drag the 
slider upwards to increase the level. 
						

							 
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Mysterizer
 
The Mysterizer is a multi-effect plug-in with a unique hands-on user 
interface. It can be used as an insert effect or a send effect, and al-
lows you to choose between eight different effects. For each effect, 
you can control two parameters by clicking and dragging in the dis-
play, allowing for continuous real-time effect manipulation, subtle 
sweeping changes or weird, wild mutations.
Here’s how to use the Mysterizer: 
1. 
Play back some audio and route the audio channel through the Mys-
terizer (either as an insert or a send effect). 
2. 
Open the Mysterizer effect control panel and click the Prog Select 
field to the right to select the desired effect. 
Each time you click, the next effect is selected. For a list of the effects, see below.
 
3. 
When you have selected an effect you want to use, the two text fields 
to the left show you which parameters are controlled on the X-axis 
and Y-axis respectively. 
In the figure above, the Ring Mod effect is selected, with Amount controlled on the X-axis 
and Frequency on the Y-axis.  
						

							 
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4. 
Click in the display and drag the hair cursor to change the parameter 
settings. 
The X-axis goes from left to right and the Y-axis goes from top to bottom, which means 
that the “zero setting” for both axes is in the upper left corner of the display.
 
5. 
Experiment! 
The Rate and Overshoot knobs
 
When you move the hair cursor, you will see how the small white dot 
moves to follow your adjustments. This represents the actual parame-
ter settings. The Rate and Overshoot controls at the bottom of the 
window control how quickly and accurately the white dot follows your 
movements - in other words how your mouse movements are “inter-
preted” by the effect. 
• 
The Rate knobs determine how fast the Mysterizer will respond when 
you move the hair cursor to a new position. 
You can make independent settings for the X- and Y-axis.
 
• 
The Overshoot knobs determine how far from “the target position” the 
white dot will be allowed to stray along the corresponding axis when 
moving the hair cursor. 
Moderate settings can give a more natural feel when a parameter is changed. Maxi-
mum Overshoot settings (turning the knob all the way to the right) will cause constant 
movement back and forth along the corresponding axis relative to the target position, 
because the white dot will never “reach the target” and come to rest. This can create 
an undulating, LFO-like special effect, the speed and range of which can be controlled 
with the corresponding Rate knob. 
						

							 
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The Effects
 
The following effects are available: 
• Ring Modulator
An effect with which the incoming audio
 
 is ring modulated by an internal, vari-
able frequency oscillator, thereby producing new harmonics. 
X-axis governs the amount of effect, Y-axis the frequency of the built-in oscillator.
 
• Comb Delay
 
A delay with high feedback, causing 
 
resonating peaks at certain frequencies. 
X-axis governs the f
 
eedback amount, Y-axis the manual delay time (pitch).
 
• Mono Delay
 
A monaural delay. X-axis controls the delay feedback, Y-axis the delay time.
 
• Stereo Delay
 
A stereo delay with which the repeats are heard in both the left and right channels. 
X-axis controls the delay feedback, Y-axis the delay time.
 
• Low-Pass Filter (LP)
 
A filter that cuts off high frequencies 
 
according to a set frequency threshold. Only 
signals below the cut-off frequency will be heard.
X-axis governs the 
 
filter resonance, Y-axis the cutoff frequency.
 
• High-Pass Filter (HP)
 
A filter that cuts off low frequencies 
 
according to a set frequency threshold.
 
 Only 
signals above the cut-off frequency will be heard.
 
X-axis governs the 
 
filter resonance, Y-axis the cutoff frequency.
 
• Band-Pass Filter (BP)
 
A filter that cuts off all frequencies except those around the set cut-off frequency.
 
X-axis governs the 
 
filter resonance, Y-axis the cutoff frequency.
 
• Distortion
 
A standard distortion effect.
X-axis controls the drive (distortion) amount, Y-axis serves as a tone control. 
						

							 
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PhatSync
 
PhatSync is a pattern-controlled multimode filter that can create 
rhythmic, pulsating filter effects.  
General Operation
 
PhatSync can produce two simultaneous 16-step patterns for the fil-
ter cutoff and resonance parameters, synced to the sequencer tempo. 
Setting Step Values
 
• 
Setting step values is done by clicking in the pattern grid windows. 
Individual step entries can be freely dragged up or down the vertical axis, or directly set 
by clicking in an empty grid box. By click-dragging left or right consecutive step entries 
will be set to the pointer position.
Setting filter cutoff values in the grid window.   
						

							 
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• 
The horizontal axis show the pattern steps 1-16 from left to right, and 
the vertical axis determines the (relative) filter cutoff frequency and 
resonance setting. 
The higher up on the vertical axis a step value is entered, the higher the relative filter 
cutoff frequency or filter resonance setting.
 
• 
By starting playback and editing the patterns for the cutoff and reso-
nance parameters, you can hear how your filter patterns affects the 
sound source connected to PhatSync directly. 
Selecting New Patterns 
 
• 
Created patterns are saved with the song, and up to 8 different Cutoff 
and Resonance patterns can be saved internally.  
Both the Cutoff and Resonance patterns are saved together in the 8 Pattern memories.
 
• 
To select new patterns you use the Pattern Selector. 
New patterns are all set to the same step value by default.
Pattern Selector.
 
Using Pattern Copy and Paste to create variations
You can use the Copy and Paste buttons below the Pattern selector 
to copy a pattern to another Pattern memory location, which is useful 
for creating variations on a pattern.  
• 
Click the Copy button with the pattern you wish to copy selected, 
then select another Pattern memory location, and click Paste. 
The pattern is copied to the new location, and can now be edited to create variations 
using the original pattern as a starting point.  
						

							 
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PhatSync Parameters
 
Reverb (PC only)
 
This is an earlier version of the Reverb B plug-in, included for reasons 
of compatibility. 
Reverb 32 (PC only)
 
This is an earlier version of the Reverb A plug-in. 
Parameter/Value Description 
Base Cutoff This sets the base filter cutoff frequency. Cutoff values 
set in the Cutoff Grid windows are values relative to the 
Base Cutoff value.
Base Resonance This sets the base filter resonance. Resonance values set 
in the Resonance Grid windows are values relative to the 
Base Resonance value. Note that very high Base Reso-
nance settings can produce loud ringing effects at certain 
frequencies.
Glide This will apply glide between the pattern step values, 
causing values to change more smoothly.
Filter Mode (LP, BP, HP) This selects between lowpass (LP), bandpass (BP) or 
highpass (HP) filter modes.
Sync (1/32, 1/16, 1/8, 1/4) This sets the pattern beat resolution, i.e. what note values 
the pattern will play in relation to the tempo. 
Mix Adjusts the mix between dry and processed signal.
Gain Sets the overall volume. 
						

							 
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Ring Modulator
 
This is an earlier version of the Ringmodulator plug-in, with slightly dif-
ferent panel layout and parameters. 
The Ring Modulator can produce complex, bell-like enharmonic 
sounds. Ring Modulators work by multiplying two audio signals to-
gether. The ring modulated output contains added frequencies gener-
ated by the sum of, and the difference between, the frequencies of the 
two signals.
The Ring Modulator has a built-in oscillator that is multiplied with the 
input signal to produce the effect. 
Parameters
 
Parameter Description 
Oscillator LFO Mod LFO Mod controls how much the oscillator frequency is affected 
by the LFO.
Oscillator EG Mod EG Mod controls how much the oscillator frequency is affected 
by the Envelope (which is triggered by the input signal). Positive 
and negative values can be set, with center position represent-
ing no modulation. Left of center, a loud input signal will de-
crease the oscillator pitch, whereas right of center the oscillator 
pitch will increase when fed a loud input.
Oscillator Wave Selects the oscillator waveform; square, sine, saw or triangle.
Oscillator Range Determines the frequency range of the oscillator in Hz.