Steinberg Nuendo 4 Manual

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The mixer
The MIDI channel strips
The MIDI channel strips allow you to control volume and 
pan in your MIDI instrument (provided that they are set up to 
receive the corresponding MIDI messages). The settings 
here are also available in the Inspector for MIDI tracks.
The common panel
The common panel appears to the left in the mixer windows 
and contains settings for changing the look and behavior of 
the mixer, as well as global settings for all channels.
Level fader 
(MIDI volume)Level (velocity) meter
Channel automation 
controlsPan controlMonitor and Record 
Enable buttons
MIDI output pop-up
MIDI input pop-up
Edit button
Mute and Solo
Insert/Send indicators 
and Bypass buttons
Input Transformer 
buttonMIDI channel pop-up
This opens the 
control panel for 
a connected VST 
Instrument
Channel Narrow/
Wide buttonCan Hide State 
Global automation 
Read/Write buttons
Store/Remove View set but-
tons (+/-) and Select View 
set pop-up, see “Channel 
view sets” on page 129. These indicator but-
tons select what chan-
nel types are shown/
hidden in the mixer.
The View options buttons 
determine what to display 
in the extended panels of 
channel strips. Only visible 
in extended mixer mode.
Command Target settings, 
see “About the Command 
Target” on page 129. Toggles “All Wide” 
(left arrows) or “All 
Narrow” channel 
strips in the mixer.
Opens the VST Con-
nections window, see 
“The VST Connections 
window” on page 12.Shows/hides the 
Routing panel
Buttons for showing/
hiding the extended 
panel
Resets the settings 
to default (for all or 
selected channels).
Channel settings copy/
paste, see “Copying 
settings between audio 
channels” on page 141.
“Can Hide” settings, see 
“Showing/hiding individual 
channels (the “Can Hide” 
setting)” on page 128.
Global Mute, Solo 
and Listen buttons 
						

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The mixer
The input and output channels
The busses you have set up in the VST Connections win-
dow are represented by input and output channels in the 
mixer. These are shown in separate “panes” (to the left 
and right of the regular channel strips, respectively), with 
their own dividers and horizontal scrollbars. The i/o chan-
nel strips are very similar to other audio channels and are 
identical for input and output channels (except that input 
channels don’t have Solo buttons or Sends).
For information on how to set up input and output bus-
ses, see “VST Connections: Setting up input and output 
busses” on page 10.
How to route audio channels to busses is described on 
“Routing audio channels to busses” on page 143.
If the Control Room is disabled (see the chapter “Con-
trol Room” on page 151), the Main Mix (the default output) 
bus is used for monitoring. For information about Monitor-
ing, see “About monitoring” on page 17.
Basic mixing procedures
Setting volume in the mixer
In the mixer, each channel strip has a fader for volume 
control. 
For audio channels, the faders control the volume of the 
channels before they are routed directly or via a group 
channel to an output bus.
Each channel can in turn handle up to 12 speaker channels – see “Sur-
round sound in Nuendo” on page 203.
An output channel fader determines the master output 
level of all audio channels routed to that output bus.
MIDI channels handle fader volume changes in the mixer 
by sending out MIDI volume messages to the connected in-
strument(s).
Connected instruments must be set to respond to MIDI messages (such 
as MIDI volume in this case) for this to function properly.
The fader settings are displayed numerically below the 
faders, in dB for audio channels and in the MIDI volume 0 
to 127 value range for MIDI channels.
You can click in the fader value fields and enter a volume setting by typing.
To make fine volume adjustments, hold down [Shift] 
when you move the faders.
If you hold down [Ctrl]/[Command] and click on a fader, 
it will be reset to its default value, i.e. 0.0 dB for audio 
channels, or MIDI volume 100 for MIDI channels.
This reset to default values works for most mixer parameters.
You can use the faders to set up a volume balance be-
tween the audio and MIDI channels and perform a manual 
mix by moving the faders and other controls while playing 
back. By using the Write function (see “Enabling and 
disabling the writing of automation data” on page 214), 
you can automate the levels and most mixer actions.
Input gain
Bus level meter
Read/Write 
Automation
Clip indicator, see 
“Setting input le-
vels” on page 69.
The Speaker configu-
ration for the bus.
Edit button
Inserts and EQ 
indicators and 
Bypass buttonsPan control (no 
Panner used for 
surround busses)
Input Phase switch
Mute and Listen 
buttons
(the Output bus 
also features a 
Solo button)Bus volume fader
!It is also possible to create volume envelopes for 
separate events in the Project window or Audio Part 
Editor (see “Event Envelopes” on page 97) or to 
make static volume settings for an event on the info 
line or with the volume handle (see “About the vo-
lume handle” on page 88). 
						

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The mixer
About the level meters for audio channels
When playing back audio in Nuendo, the level meters in 
the mixer show the level of each audio channel.
Directly below the level meter is a small level readout – 
this shows the highest registered peak level in the signal.
Click this to reset the peak levels.
Peak levels can also be shown as static horizontal lines 
in the meter, see “Changing the meter characteristics” on 
page 141.
If the peak level of the audio goes above 0 dB, the numer-
ical level indicator will show a positive value (i.e. a value 
above 0 dB).
Nuendo uses 32 bit floating point processing internally, so 
there is virtually limitless headroom – signals can go way 
beyond 0dB without clipping. Therefore:
ÖHaving higher levels than 0 dB for individual audio 
channels is not a problem in itself. The audio quality will 
not be degraded by this. 
However, when many high level signals are mixed in an output bus, this 
may require that you lower the output channel level a lot (see below). 
Therefore it’s good practice to keep the max levels for individual audio 
channels roughly around 0 dB.
About the level meters for input and output channels
For the input and output channels, things are different. I/O 
channels have clip indicators.
When you are recording, clipping can occur when the 
analog signal is converted to digital in the audio hardware. 
It’s also possible to get clipping in the signal being recorded to disk 
(when 16 or 24 bit record format is used and you have adjusted the mixer 
settings for the input channel). For more about checking and setting in-
put levels, see “Setting input levels” on page 69.
In the output busses, the floating point audio is converted 
to the resolution of the audio hardware. In the integer audio domain, the maximum level is 0 dB – higher levels will cause 
the clip indicator for each bus to light up.
If the clip indicators light up for a bus, this indicates actual clipping – dig-
ital distortion which should always be avoided.
Adjusting Input Gain
Each audio channel and input/output channel features an 
Input Gain control. This controls the gain for the incoming 
signal, before EQ and effects.
The Input Gain is not meant to be used as a volume con-
trol in the mixer, as it is not suited for continuous level ad-
justments during playback. It can, however, be used to cut 
or boost the gain in various circumstances:
To change the level of a signal before the effects section.
The level going into certain effects can change the way the signal is af-
fected. A compressor, for example, can be “driven” harder by raising the 
Input Gain.
To boost the level of poorly recorded signals.
To change the Input Gain, you need to press [Shift] and 
adjust the control (to avoid accidental gain changes). If 
you press [Alt]/[Option], you can adjust the Input Gain 
with a fader. Alternatively, you can also enter the desired 
number in the value field.
Input Phase switch
Each audio channel and input/output channel has an Input 
Phase switch, to the left of the Input Gain control dial. 
When activated, the phase polarity is inverted for the sig-
nal. Use this to correct for balanced lines and mics that 
are wired backwards, or mics that are “out of phase” due 
to their positioning.
!When Direct Monitoring is used and the option “Map 
input bus metering to Audio track (in Direct Monitor-
ing)” is activated in the Preferences (VST–Metering 
page), the level meters in the mixer will show the level 
of the input bus instead. 
!If the clip indicator lights up for an output channel, 
reset the clip indicator by clicking on it, and lower the 
level until the indicator doesn’t light up. 
						

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The mixer
Phase polarity is important when mixing together two 
similar signals. 
If the signals are “out of phase” with respect to one another, there will be 
some cancellation in the resulting audio, producing a hollow sound with 
less low frequency content.
About level meters for MIDI channels
The level meters for MIDI channels do not show actual vol-
ume levels. Instead, they indicate the velocity values of the 
notes played back on MIDI tracks.
About MIDI tracks set to the same MIDI channel and 
output
If you have several MIDI tracks set to the same MIDI chan-
nel (and routed to the same MIDI output), making volume 
and pan settings for one of these MIDI tracks/mixer chan-
nels will also affect all other mixer channels set to the 
same MIDI channel/output combination.
Using Solo and Mute
The Mute (top) and Solo buttons.
You can use the Mute and Solo buttons to silence one or 
several channels. The following applies:
The Mute button silences the selected channel.
Clicking the Mute button again un-mutes the channel. Several channels 
can be muted simultaneously. Muting Group channels can have two dif-
ferent results depending on how the Preferences are set (see “Settings 
for group channels” on page 142). A muted channel is indicated by a lit 
Mute button and also by the lit Global Mute indicator on the common 
panel. 
Clicking the Solo button for a channel mutes all other 
channels.
A soloed channel is indicated by a lit Solo button, and also by the lit Glo-
bal Solo indicator on the common panel. Click the Solo button again to 
turn off Solo.
Several channels can be soloed at the same time.
However, if you press [Ctrl]/[Command] and click the Solo button for a 
channel, any other soloed channels will automatically be un-soloed (i.e. 
this Solo mode is exclusive).
[Alt]/[Option]-clicking a Solo button activates “Solo De-
feat” for that channel.
In this mode the channel will not be muted if you solo another channel. To 
turn off Solo Defeat, [Alt]/[Option]-click the Solo button again. 
You can un-mute or un-solo all channels by clicking the 
Mute or Solo indicator on the common panel.
Listen Mode 
The Listen button for a channel strip and the global Listen button on the 
Common panel
Clicking the Listen button for a channel routes that chan-
nel to the Control Room without interrupting the normal 
signal flow. The following applies:
When the channel is set to after-fader (also referred to 
as post-fader), the signal being routed to the Control 
Room channel will come after the fader and pan controls 
of the Listen-enabled channel.
When the Control Room channel is set to pre-fader, the 
signal will be routed from just before the fader.
A Listen-enabled channel is indicated by a lit Listen but-
ton, and also by the lit Global Listen button on the com-
mon panel. Click the Listen button again to turn off Listen 
mode. You may also turn off Listen mode for every Listen-
enabled track at once by clicking the Listen button on the 
common panel.
For more information about the Listen functionality, see 
the chapter “Control Room” on page 151.
A muted chan-
nel in the mixer.A lit Global Mute indicator on the 
common panel shows that one or 
more channels are muted.
[Alt]/[Option]-click a Solo button……to activate Solo Defeat 
for that channel.
…and to pre-fader (PFL).
Control Room channel set 
to after-fader (AFL)… 
						

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The mixer
Setting pan in the mixer
The pan control.
The pan controls in the mixer are used to position a chan-
nel between the left and right side of the stereo spectrum. 
By default for stereo audio channels, pan controls the bal-
ance between the left and right channels. You can change 
this in the Preferences. By selecting one of the other pan 
modes (see below), you can set pan independently for the 
left and right channel.
To make fine pan adjustments, hold down [Shift] when 
you move the pan control.
To select the (default) center pan position, hold down 
[Ctrl]/[Command] and click on the pan control.
For MIDI channels, the pan control sends out MIDI pan 
messages.
The result depends on how your MIDI instrument is set to respond to pan 
– check your documentation for details.
ÖThe Surround Panner is described in the section 
“Using the Surround Panner” on page 208.
Panning Bypass
You can bypass the panning for all track types except 
MIDI tracks. To do this, keep [Shift] and [Alt]/[Option] 
pressed and click on the pan setting for the respective 
channel in the mixer (on the fader panel or in the extended 
mixer view). The Panning Bypass state is reflected in all 
the different pan setting sections, e.g. if you bypass a 
channel in the mixer, this is automatically reflected in the 
Inspector for the respective track.
When panning is bypassed for a channel, the following 
happens:
 Mono channels will be panned center.
 Stereo channels will be panned left and right.
 Surround channels will be panned center.
ÖTo deactivate Panning Bypass, simply press 
[Shift]+[Alt]/[Option] and click again.
About the three pan modes 
If you right-click in the pan control field for a (stereo) audio 
channel, you can select one of three pan modes:
Stereo Balance Panner controls the balance between 
the left and right channels.
This is the default mode.
If Stereo Dual Panner is selected, there will be two pan 
controls with the upper controlling pan for the left channel, 
and the lower controlling pan for the right channel.
This allows you set pan independently for the left and right channels. 
Note that it is possible to reverse the left and right channels, i.e. the left 
channel can be panned to the right and vice versa. You can also “sum” 
two channels by setting them to the same pan position (i.e. mono) – note 
that this will increase the volume of the signal.
If Stereo Combined Panner is selected, the left and 
right pan positions are shown as two lines with a blue/gray 
area between them.
If you reverse the left and right channels, the area between the pan controls 
will be red instead of blue/gray.
In this mode, the left and right pan controls are linked, and 
can be moved left and right like a single pan control (keep-
ing their relative distance).
Stereo Combined mode also allows you set pan inde-
pendently for the left and right channels. This is done by 
holding down [Alt]/[Option] and dragging the correspond-
ing pan control. 
						

							136
The mixer
When moving combined pan controls so that the left or 
right pan control reaches its maximum pan value, it natu-
rally cannot go any further. If you continue to move further 
in the same direction, only the other pan control will move, 
thus altering the set relative pan range until both channels 
are panned fully to one side. If you move the pan controls 
in the opposite direction without releasing the mouse, the 
previously set pan range will be restored.
ÖThe pan settings made with the Dual Panner are re-
flected in the Combined Panner and vice versa.
ÖYou can specify the default pan mode for inserted au-
dio tracks in the Preferences (VST page).
About the “Stereo Pan Law” Preference (audio channels 
only)
In the Project Setup dialog there is a pop-up menu named 
“Stereo Pan Law”, on which you can select one of several 
pan modes. This is related to the fact that without power 
compensation, the power of the sum of the left and right 
side will be higher (louder) if a channel is panned center 
than if it is panned left or right. 
To remedy this, the Stereo Pan Law setting allows you to 
attenuate signals panned center, by -6, -4.5 or -3 dB (de-
fault). Selecting the 0 dB option effectively turns off con-
stant-power panning. Experiment with the modes to see 
which fits best in a given situation. You can also select 
“Equal Power” on this pop-up menu, which means that the 
power of the signal will remain the same regardless of the 
pan setting.
Audio specific procedures
This section describes the options and basic procedures 
regarding audio channels in the mixer.
Options for the extended audio channel strip
When using the extended channel strip view options, the 
upper panel can be set to show different views for each 
audio channel strip. You can select what to display in the 
extended panel individually for each channel or globally for 
all channels (see “Selecting what to display in the exten-
ded channel strips” on page 126).The following views are possible:
The 8 insert effect slots.
The inserts can also be found in the Inspector and the Channel Settings 
window, see “Using Channel Settings” on page 137.
The 8 effect sends, with pop-ups and send level value 
sliders.
The sends can also be found in the Inspector and the Channel Settings 
window, see “Using Channel Settings” on page 137.
You also have the option of displaying four sends at a 
time (the Sends 1-4 and 5-8 menu items). 
These modes offer the additional benefit of displaying send levels as dB 
values.
ÖThere are no sends for Input channels.
The EQ section, either with value sliders (“EQs”) or as 
numerical settings with a curve display (“EQs curve”).
These two views have exactly the same controls but different graphic lay-
outs. The EQ section is also available in the Channel Settings window. 
For EQ parameter descriptions, see “Making EQ settings” on page 138.
The Surround Panner section (where applicable).
If the channel is routed to a surround bus you can view a compact ver-
sion of the Surround Panner in the extended panel – double-click to 
open the full Surround Panner panel. Also in this section, three parame-
ters of the Mixconvert plug-in will be shown (provided that this plug-in is 
inserted and active). They are SRD (surround), CTR (center) and LFE 
levels. You can edit these values by clicking on them and typing in new 
values.
The “Meter” option shows large level meters in the ex-
tended panel. 
These operate exactly like the regular meters.
The User Panel option displays Device panels for the 
audio track, including panels for inserted VST effects, see 
“Audio tracks” on page 28. You can access User panels 
by clicking on the tab at the top of the User Panel display 
in the extended mixer.
For information on Device Panels, see the separate PDF document “MIDI 
Devices”.
Selecting the “Empty” option will display a blank panel 
in the extended strip.
You can also select the “Overview” option – this shows 
a graphic overview of which insert effect slots, EQ mod-
ules and effects sends are activated for the channel.
You can click the indicators to turn the corresponding slot/EQ module/
send on or off. 
						

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The mixer
ÖIf you have selected a parameter for the extended 
channel strip and then switch to “narrow” mode, only the 
channel overview and the Meter can be shown in the ex-
tended channel strip. When you switch back to “wide” 
mode, the parameter settings are displayed again.
Using Channel Settings 
For each audio channel strip in the mixer and in the Inspec-
tor and Track list for each audio track, there is an Edit but-
ton (“e”).
Clicking this opens the VST Audio Channel Settings win-
dow. By default, this window contains:
 A section with eight insert effect slots (see “Audio effects” on 
page 168).
 Four EQ modules and an associated EQ curve display (see 
“Making EQ settings” on page 138).
 A section with eight effect sends (see “Audio effects” on page 
168).
 A duplicate of the mixer channel strip (without the extended 
panel but with the input and output settings panel).
You can customize the Channel Settings window, by 
showing/hiding the different panels and/or by changing 
their order:
 To specify which panels should be shown/hidden, right-click 
in the Channel settings window, and activate/deactivate the 
respective options on the Customize View submenu on the 
context menu.
 To change the order of the panels, select “Setup” on the Cus-
tomize View pop-up menu and use the “Move up” and “Move 
Down” buttons.
For further information, see the chapter “Customizing” on 
page 503.Every channel has its own channel settings (although you 
can view each in the same window if you like – see below).
The Channel Settings window is used for the following 
operations:
 Apply equalization, see “Making EQ settings” on page 138.
 Apply send effects, see “Audio effects” on page 168.
 Apply insert effects, see “Audio effects” on page 168.
 Copy channel settings and apply them to another channel, see 
“Copying settings between audio channels” on page 141.
Changing channels in the Channel Settings window
You can view any channel’s settings from a single window. 
If the option “Sync Project and Mixer Selection” is acti-
vated in the Preferences (Editing–Project & Mixer page), 
this can be done “automatically”:
Open the Channel Settings window for a track and po-
sition it so that you can see both the Project window and 
the Channel Settings window.
Selecting a track in the Project window automatically se-
lects the corresponding channel in the mixer (and vice 
versa). If a Channel Settings window is open, this will im-
mediately switch to show the settings for the selected 
channel. This allows you to have a single Channel Settings 
window open in a convenient position on the screen, and 
use it for all your EQ and channel effect settings.
!All channel settings are applied to both sides of a 
stereo channel.
Click the Edit button to open the 
Channel Settings window. 
						

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The mixer
You can also select a channel manually (thereby changing 
what is shown in the open Channel Settings window). 
Proceed as follows:
1.Open the Channel Settings window for any channel.
2.Open the Choose Edit Channel pop-up menu by 
clicking the arrow button to the left of the channel number 
at the top of the Fader view.
3.Select a channel from the pop-up to show the settings 
for that channel in the open Channel Settings window.
Alternatively, you can select a channel in the mixer by 
clicking its channel strip (make sure not to click on a con-
trol as this will change the respective parameter setting in-
stead).
This selects the channel, and the Channel Settings window is updated.
To open several Channel Settings windows at the same 
time, press [Alt]/[Option] and click the Edit buttons for the 
respective channels.
Making EQ settings
Each audio channel in Nuendo has a built-in parametric 
equalizer with up to four bands. There are several ways to 
view and adjust the EQs:
By selecting one of the EQ display modes (“EQs” or 
“EQs Curve”) for the extended channel strip in the mixer.
These modes contain the same settings but present them in different 
ways:
By selecting the “Equalizers” or “Equalizer Curve” tab in 
the Inspector.
The “Equalizers” section is similar to the “EQs” mode in the extended 
mixer, while the “Equalizer Curve” section shows a display in which you 
can “draw” an EQ curve. Setting EQ in the Inspector is only possible for 
track-based audio channels.
ÖNote that by default, only the Equalizers tab is shown. 
To display the Equalizer Curve tab, right-click on an In-
spector tab (not in the empty area below the Inspector) 
and activate the “Equalizer Curve” option.
By using the Channel Settings window.
This offers both parameter sliders and a clickable curve display (the 
Equalizer + Curve pane) and also lets you store and recall EQ presets.
!Below we describe how to set up EQ in the Channel 
Settings window, but the parameters are the same in 
the mixer and Inspector (apart from the presets and 
reset function, which are not available in the mixer).
In “EQs” mode, the top value 
slider controls the gain, the mid-
dle controls frequency and the 
lower sets the filter type and the 
Q parameter for each EQ band.In “EQs Curve” mode, EQ set-
tings are shown as a curve. 
Parameters are set by click-
ing on the value and adjusting 
with the fader that appears. 
						

							139
The mixer
The Equalizers + Curve pane in the Channel Settings win-
dow consists of four EQ modules with parameter sliders, an 
EQ curve display and some additional functions at the top.
Using the parameter controls
1.Activate an EQ module by clicking its power button.
Although the modules have different default frequency values and differ-
ent Q names, they all have the same frequency range (20Hz to 20kHz). 
The only difference between the modules is that you can specify different 
filter types for each individual module (see below).
2.Set the amount of cut or boost with the gain control – 
the upper slider.
The range is ± 24 dB.
3.Set the desired frequency with the frequency slider.
This is the center frequency of the frequency range (20Hz to 20kHz) to 
be cut or boosted.
4.Click on the lower slider (to the left) to open the filter 
type pop-up menu and select the desired filter type.
The “eq1” and “eq4” bands can act as parametric, shelving or high/low-
pass filters, while “eq2” and “eq3” will always be parametric filters.
5.Set the Q value with the lower slider (to the right).
This determines the width of the affected frequency range. Higher values 
give narrower frequency ranges.
6.If needed, you can activate and make settings for up to 
four modules.
Note that you can edit the values numerically as well, by 
clicking in a value field and entering the desired gain, fre-
quency or Q value.
Using the curve display
When you activate EQ modules and make settings, you will 
see that your settings are automatically reflected in the 
curve display above. You can also make settings directly in 
the curve (or combine the two methods any way you like):
1.To activate an EQ module, click in the curve display.
This adds a curve point and one of the modules below are activated.
2.Make EQ settings by dragging the curve point in the 
display.
This allows you to adjust gain (drag up or down) and frequency (drag left 
or right).
3.To set the Q parameter, press [Shift] and drag the 
curve point up or down.
You will see the EQ curve become wider or narrower as you drag.
You can also restrict the editing by pressing [Ctrl]/
[Command] (sets gain only) or [Alt]/[Option] (sets fre-
quency only) while you drag the curve point.
4.To activate another EQ module, click somewhere else 
in the display and proceed as above.
5.To turn off an EQ module, double-click its curve point 
or drag it outside the display.
6.To mirror the eq curve on the x axis, click the button to 
the left of the curve display.
EQ bypass
Whenever one or several EQ modules are activated for a 
channel, the EQ button will light up in green in the mixer 
channel strip, Inspector (Equalizer and Channel sections), 
Track list and Channel Settings window (top right corner 
of the EQ section).
You can also bypass all EQ modules. This is useful, as it 
allows you to compare the sound with and without EQ. 
Proceed as follows:
In the mixer, the Track list and in the Channel section in 
the Inspector, click the EQs state button so that it turns 
yellow.
To deactivate EQ Bypass, click the button again, so that it turns green 
again. 
						

							140
The mixer
In the Inspector (Equalizers tab) and in the Channel 
Settings window, click the Bypass button (next to the EQ 
button) so that it turns yellow.
Click again to deactivate EQ Bypass mode.
EQ bypass in the mixer, the Channel Settings window and in the Inspector.
EQ reset
On the preset pop-up menu in the Channel Settings win-
dow and in the Inspector, you will find the Reset command. 
Holding down [Alt]/[Option] and clicking this will turn off all 
EQ modules and reset all EQ parameters to their default 
values.
Using EQ presets
Some useful basic presets are included with the program. 
You can use them as they are, or as a starting point for fur-
ther “tweaking”. 
To call up a preset, pull down the presets pop-up menu 
in the Channel Settings window or in the Inspector and 
select one of the available presets.
To store the current EQ settings as a preset, select 
“Store Preset” on the presets pop-up menu and enter the 
desired name for the preset in the dialog that appears.
To rename the selected preset, select “Rename Preset” 
on the pop-up menu and enter a new name.
To delete the selected preset, select “Remove Preset” 
on the pop-up menu.
ÖYou can also apply EQ (and Inserts) settings from 
Track presets, see “Inserts and EQ settings from track 
presets” on page 337.
EQ in the channel overview
If the “Channel” section is selected in the Inspector or the 
“Overview” view mode is selected in the extended mixer, 
you will get an overview of which EQ modules, insert ef-
fects and effect sends are activated for the channel.
By clicking the respective indicator (1 to 4), you can turn 
the corresponding EQ module on or off.
The channel overview in the Inspector.
The option “Use Nuendo 3 EQ settings as default”
In the Preferences (VST page) you will find the option “Use 
Nuendo 3 EQ settings as default”. When you activate this 
option, the EQ settings from the previous program version 
will be used by default. This means that when you create a 
new track, the four EQ modules will be set to the EQ band 
types they had in Nuendo 3:
This EQ module… …will be set to
EQ1 Low Shelf 1
EQ2 Parametric 1
EQ3 Parametric 1
EQ4 High Pass 1