Steinberg Groove Agent 4 Manual

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Filter Shape• LP 24, 18, 12, and 6 are low-pass filters with 24, 18, 12, and 6 dB/oct. Fr
 equencies above the cutoff are attenuated.
• BP 12 and BP 24 are band-pass filters with 12 and 24 dB/oct.  Frequencies below and above  the cutoff are attenuated.
• HP6+LP18 and HP6+LP12 ar e combinations of a high-pass filter with 
6 dB/oct and a low-pass filter wi th 18 and 12 dB/oct, respectively 
(asymmetric band-pass filter). Frequencies below and above the cutoff 
are attenuated. Attenuation is more pronounced for the frequencies 
above the cutoff.
• HP12+LP6 and HP18+ LP6 are combinations of a high-pass filter with 
12 and 18 dB/oct and a low-pass f ilter with 6 dB/oct (asymmetric 
band-pass filter). Frequencies below and above the cutoff are 
attenuated. Attenuation is more pronounced for the frequencies below 
the cutoff.
• HP 24, 18, 12, and 6 are high-pass filters with 24, 18, 12, and 6 dB/oct.  Frequencies below the cutoff are attenuated.
• BR 12 and BR 24 are band-reject  filters with 12 and 24 dB/oct. 
Frequencies around the cutoff are attenuated.
• BR12+LP6 and BR12+LP12 are combinat ions of a band-reject filter 
with 12 dB/oct and a low-pass filter  with 6 and 12 dB/oct, respectively. 
Frequencies around and above the cutoff are attenuated.
• BP12+BR12 is a band-pass filter wi th 12 dB/oct plus a band-reject 
filter with 12 dB/oct. Frequencies below, above, and around the cutoff 
are attenuated.
• HP6+BR12 and HP12+BR12 are combinations of a high-pass filter  with 6 and 12 dB/oct and a band-reject filter with 12 dB/oct. 
Frequencies below and around the cutoff are attenuated.
• AP is an all-pass filter with 18 dB /oct. Frequencies around the cutoff are 
attenuated.
• AP+LP6 is an all-pass filter with 18  dB/oct plus a low-pass filter with 
6 dB/oct. Frequencies around and above the cutoff are attenuated.
• HP6+AP is a high-pass filter with 6  dB/oct plus an all-pass filter with 
18 dB/oct. Frequencies around and below the cutoff are attenuated.
Editing the Envelope
An envelope section is available on the  Pitch, Filter , and  Amp tabs. Each 
multisegment envelope has up to 128 nodes with the  Time, Level , and Curve  
parameters. The nodes and their parameters specify the overall shape of the 
envelope. You can edit one or multiple nodes in the graphical envelope editor or by 
entering values. 
						

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Fixed
•If Fixed is activated and you move selected nodes on the time axis, only the 
selected nodes are moved.
•If  Fixed is de
 activated, all nodes that follow the edited nodes are also moved.
Snap
You can select a second envelope to be displayed in the background of the edited 
envelope. If Snap is activated and you ch ange the position of nodes, they snap to 
the nodes of the envelope that is shown in the background.
• To specify the envelope for the background, open the pop-up menu to the  r
 ight of the  Snap button and select an  envelope from the list.
Selecting Nodes
• To select a node, click on it in the graphical editor. 
Selected nodes turn light blue. The focu sed node 
 is indicated by an orange 
frame. The value fields to the left of the graphical envelope editor display the 
parameters of the focused node.
• If multiple nodes are selected, you can use the  Nod
 e pop-up menu to set the 
focus to a different node without losing the current selection.
• To add a node to a selection, [Shift]-cl i
 ck the node. Selected nodes are edited 
together.
• You can select multiple nodes by draw ing a re
 ctangle around the nodes with 
the mouse.
• If the graphical editor has the focus, you can select the next or the previous  node with the left  and right 

arrow keys.
Adjusting the Time Parameter
The Time  parameter specifies the period of  time between two nodes. Depending 
on the  Sync mode, the  Time parameter is displayed in milliseconds and seconds, 
or in fractions of beats.
• To set the Time  par
 ameter, select the nodes that you want to adjust and enter 
a value in the  Time field.
• You can also adjust the  Time 
 parameter in the graphical envelope editor, by 
dragging the nodes left or right, to decrease or to increase the time span.
For a higher resolution, hold [Shift] while moving the nodes.
To limit the movement to the time axis, that is, to change only the horizontal 
position of a node, 
 hold down [Ctrl]/[Command] while dragging. 
						

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Adjusting the Level Parameter
The Level  parameter specifies the amplitude of the envelope at the position set by 
the  Time  parameter.
•To set the Level  
 parameter, select the nodes that you want to adjust and enter 
a value in the  Level field.
• You can also adjust the  Level 
 parameter in the graphical envelope editor by 
dragging the selected nodes up or down, to decrease or increase the levels.
For a higher resolution, hold [Shift] while moving the nodes.
To limit the movement to the level axis, that is, to change only the vertical 
position of a node, 
 hold down [Alt]/[Option] while dragging.
Adjusting the Curve Parameter
The Curve  parameter allows you to adjust the curvature of the envelope curve 
between two nodes from linear to logarithmic or exponential behavior.
• To set the  Cu
 rve parameter, select the nodes  that you want to adjust and 
enter a value in the  Curve field. Positive curve values change the curvature 
towards logarithmic and negative va lues towards exponential behavior.
• You can also adjust the  Curve parameter in the graphical envelope editor by 
dr
 agging the curve between two nodes.
[Ctrl]/[Command]-click a curve to reset it to linear.
Adding and Removing Nodes
All nodes added after the sustain node al ways affect the release phase of the 
envelope.
• To add a node, double-click at the posi tio
 n where you want to add the node.
• To remove a node, double-click it.
• To delete several selected nodes, pr
 ess [Delete] or [Backspace].
NOTE
You cannot remove the first, the last, or the sustain node. 
						

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Adding Nodes Using the Fill Function
The Fill function allows you to add multiple envelope nodes after the selected 
nodes.
PROCEDURE
1. On the pop-up menu to the right of the  Fill button, select the number of nodes 
that you want to add.
2. In the graphical envelope editor, select  the node after which you want to add 
nodes.
If several nodes are selected, the new nodes are inserted after the last selected node.
If the  Fixed  fun
 ction is deactivated, the added nodes are placed with the interval 
specified by the Time parameter of the sel ected node. If multiple nodes are selected, 
the interval is specified by the focused node.
By activating  Sync, you can speci
 fy the interval with the Sync note value. For example, 
if 1/4 is selected, new nodes are added at exact quarter note intervals.
If the  Fixed  fun
 ction is activated, the added nodes fill the space between the last 
selected node and the following one.
3. Click the  Fill button.
RESULT 
The nodes are added.
Using Sync
You can synchronize the envelopes to the tempo of your host application. This 
allows you to set envelope times that relate to musical time intervals, regardless of 
any tempo changes.
PROCEDURE
1. Click  Sync to activate sync mode for the envelope.
Sync mode is active if the button is highlight ed. A grid spaced in fractions of beats is 
displayed in the graphical envelope editor.
2. On the pop-up menu located to the right of the  Sync button, select a note 
value.
This sets the resolution of the grid.
NOTE
The  Time  field of a node displays times in frac tions of beats. The fraction is always 
reduced to the smallest possible value.  2/16 is displayed as 1/8, for example. 
						

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3. To use triplet note values, activate the T button.
• Envelope nodes that do not exactly match a note value display the closest note 
value.
• Nodes that exactly match a note value are indicated by a red dot inside the  handl
 e of the node. This is useful if  you switch the grid between triplets and 
normal note values, for example. The trip let nodes still indicate that they match 
a note value, even if the grid shows normal note values.
4. You can also enter note values and triplets manually in the value field.
Envelope Modes
On the  Mode pop-up menu, you can select one of 4 envelope modes, to specify 
how the envelope is played back each time you hit a key.
Sustain The envelope starts playback from the  first node to its s
 ustain. The sustain 
level is held as long as you play the note. When you release the note, the 
envelope continues with the phases after the sustain. This mode is ideal for 
looped samples.
Loop The envelope starts playback from the first node to the loop nodes. The loop 
is re
peated for as long as the key is held. The envelope plays the phases after 
the sustain when you release the note. This mode is ideal for adding motion 
to the sustain.
One Shot The envelope is played from the first to  the l
 ast node, even if you release the 
key. The envelope has no sustain. This mode is ideal for drum samples.
Sample Loop Preserves the natural attack of the sa mple
 . The decay of the envelope does 
not start until the sample has  reached the sample loop start.
If you set the second node to the maximum level and use the following nodes 
to sh
 ape the decay during the loop phase of the sample, the envelope only 
affects the loop phase. The attack of the envelope is still executed.
Setting Up the Loop
You can set up the envelope to repeat its playback between the selected nodes.
PROCEDURE
1. Set the envelope mode to  Loop.
2. Adjust the loop with the graphical envelope editor. 
						

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3. The loop is indicated by the green region in the graphical envelope editor. Specify the loop start and end by dr agging the borders of the region.
The loop region can only be set up in the decay phase of the envelope.
Pitch Tab
Key Range
Activate this button to specify the key  range
  of the sample, that is, the range 
over which it is mapped chromatically to pads.
• Lo
w Key  specifies the first key for the mapping.
• High Key  specifies the last key for the mapping.
If you deactivate the  Key Range bu
 tton, the Low Key  and High Key  fields are 
reset.
Fixed Pitch •If  Fixe
 d Pitch is deactivated, the sample  plays chromatically within the 
key range.
•If  Fixed Pitch  is activated, the sample plays  with its original pitch on all 
of the keys within the key range. This  is useful if you want to layer a pad 
with the neighboring pads, for example.
Coarse Adjusts the tuning  in semitones.
Fine Adjusts the fine tuning in cents.
Random Determines how much the pitch of a sample is changed randomly with each 
not
e that is played.
Env Amnt Determines how much the pitch is affected by the pitch envelope.
Level Velocity (Vel>Lev) Determines how the velocity affects the level of the envelope. The level 
depends on this 
 parameter and on how  hard you hit a key. Positive values 
increase the level of the envelope the harder you hit a key. Negative values 
decrease the level of the envelope the harder you hit a key.
Time Velocity (Vel>Time) Adjusts the influence of velocity on the phases of the envelope. Positive 
valu
es decrease the times for higher velocity values. Negative values increase 
the times for higher velocity values. 
						

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SegmentsHere, you can select which phases of the envelope are affected by the  Time 
Velo
 city parameter.
• A
ttack  – The velocity affects the attack only.
• Attack + Decay  – The velocity affects all phases until the sustain.
• Decay  – The velocity affects all phases until the sustain but without the 
attack.
• Attack + Release  – The velocity affects the attack and the release 
phases.
• All – The velocity affects all phases.
Level Velocity Curve You can select the curve type to specify how the incoming velocity translates 
to th
e level of the envelope. The charact eristic of each curve is displayed by 
a small icon.
Mapping Samples Chromatically over Multiple Pads
The  Key Range  settings on the  Pitch tab allow you to map samples chromatically 
over multiple pads.
NOTE
If  Edit Selected Sample or Pad  (SEL ) is activated, you adjust the key range for 
each sample individually.
PROCEDURE
1. Set up the range with the  Low Key and High Key  value fields.
When you adjust the key range for chromatic ally mapped samples, the pads within 
the key range inherit the name of the pad to  which the original sample is assigned. 
The name is only set if the corresponding pad does not have a name. The offset in 
semitones from the original pad is added as suffix to the name. This helps you to find 
the original pad more easily. 
						

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2. Optional: Set up the Fixed Pitch parameter.
•If Fixed Pitch  is activated, the sample is played with its original pitch on all the 
pads in the key range.
•If  Fi
xed Pitch  is deactivated, the sample is played chromatically within the key 
range.
RESULT 
The samples are mapped to the pads. An ic on with two notes indicates which pads 
play a chromatically mapped sample.
A
FTER COMPLETING THIS TASK 
The context menu of pads that contain  chromatically mapped samples offers the 
Chromatically Mapped from  function, allowing you to locate the original pad for 
the mapped samples. The original pad it self does not contain this function.
Filter Tab
The Filter tab allows you to adjust the tone color of the sound. The filter envelope 
controls the cutoff frequency to shape the harmonic content over time.
Filter Type Sets the filter type. You can choose between  Classic, Tube Drive , Ha
 rd Clip, 
Bit Reduction  and Rate Reduction .
To deactivate the filter, select  Off.
Filter Shape • LP 24, 18, 12, and 6 are low-pass filters with 24, 18, 12, and 6 dB/oct. Fr
 equencies above the cutoff are attenuated.
• BP 12 and BP 24 are band-pass filters with 12 and 24 dB/oct.  Frequencies below and above  the cutoff are attenuated.
• HP6+LP18 and HP6+LP12 ar e combinations of a high-pass filter with 
6 dB/oct and a low-pass filter wi th 18 and 12 dB/oct, respectively 
(asymmetric band-pass filter). Frequencies below and above the cutoff 
are attenuated. Attenuation is more pronounced for the frequencies 
above the cutoff.
• HP12+LP6 and HP18+ LP6 are combinations of a high-pass filter with 
12 and 18 dB/oct and a low-pass f ilter with 6 dB/oct (asymmetric 
band-pass filter). Frequencies below and above the cutoff are 
attenuated. Attenuation is more pronounced for the frequencies below 
the cutoff.
• HP 24, 18, 12, and 6 are high-pass filters with 24, 18, 12, and 6 dB/oct.  Frequencies below the cutoff are attenuated.
• BR 12 and BR 24 are band-reject  filters with 12 and 24 dB/oct. 
Frequencies around the cutoff are attenuated. 
						

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• BR12+LP6 and BR12+LP12 are combinations of a band-reject filter 
with 12 dB/oct and a low-pass filter  with 6 and 12 dB/oct, respectively. 
Frequencies around and above the cutoff are attenuated.
• BP12+BR12 is a band-pass filter wi th 12 dB/oct plus a band-reject 
filter with 12 dB/oct. Frequencies below, above, and around the cutoff 
are attenuated.
• HP6+BR12 and HP12+BR12 are combinations of a high-pass filter  with 6 and 12 dB/oct and a band-reject filter with 12 dB/oct. 
Frequencies below and around the cutoff are attenuated.
• AP is an all-pass filter with 18 dB /oct. Frequencies around the cutoff are 
attenuated.
• AP+LP6 is an all-pass filter with 18  dB/oct plus a low-pass filter with 
6 dB/oct. Frequencies around and above the cutoff are attenuated.
• HP6+AP is a high-pass filter with 6  dB/oct plus an all-pass filter with 
18 dB/oct. Frequencies around and below the cutoff are attenuated.
Cutoff
Controls the cutoff frequency of the filter.
Resonance Sets the filter resonance.
Distortion Sets the amount of distortion. The effect of this parameter depends on the 
sele
cted filter mode.
Velocity This parameter determines the influenc e th
 at velocity has on the cutoff 
frequency. If  Velocity is set to 0  %, the setting has no effect. At any other 
valu

e, the cutoff frequency changes with the velocity.
Env Amnt Determines how much the filter is affected by the filter envelope.
Level Velocity (Vel>Lev) Determines how the velocity affects the level of the envelope. The level 
depends on this 
 parameter and on how  hard you hit a key. Positive values 
increase the level of the envelope the harder you hit a key. Negative values 
decrease the level of the envelope the harder you hit a key.
Time Velocity (Vel>Time) Adjusts the influence of velocity on the phases of the envelope. Positive 
valu
es decrease the times for higher velocity values. Negative values increase 
the times for higher velocity values.
Segments Here, you can select which phases of the envelope are affected by the  Time 
Velo
 city parameter.
• A
ttack  – The velocity affects the attack only.
• Attack + Decay  – The velocity affects all phases until the sustain. 
						

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•Decay  – The velocity affects all phases until the sustain but without the 
attack.
• Attack + Release  – The velocity affects the attack and the release 
phases.
• All – The velocity affects all phases.
Level Velocity Curve
You can select the curve type to specify how the incoming velocity translates 
to th
e level of the envelope. The charact eristic of each curve is displayed by 
a small icon.
R
ELATED LINKS
Editing the Envelope on  page 71
Amp Tab
Volume
Sets the level of the sample.
Pan Sets the position of the sample in the stereo panorama.
AUX 1-4 Here, you can specify the signal level that is sent to
  the 4 integrated AUX FX 
channels.
Level Velocity (Vel>Lev) Determines how the velocity affects the level of the envelope. The level 
depends on this 
 parameter and on how  hard you hit a key. Positive values 
increase the level of the envelope the harder you hit a key. Negative values 
decrease the level of the envelope the harder you hit a key.
Time Velocity (Vel>Time) Adjusts the influence of velocity on the phases of the envelope. Positive 
valu
es decrease the times for higher velocity values. Negative values increase 
the times for higher velocity values.
Segments Here, you can select which phases of the envelope are affected by the  Time 
Velo
 city parameter.
• A
ttack  – The velocity affects the attack only.
• Attack + Decay  – The velocity affects all phases until the sustain.
• Decay  – The velocity affects all phases until the sustain but without the 
attack.
• Attack + Release  – The velocity affects the attack and the release 
phases.
• All – The velocity affects all phases.