Steinberg Nuendo 4 Plug In Reference Manual

							21
The included effect plug-ins
StudioEQ
This is a high-quality 4-band parametric stereo equalizer 
with two fully parametric midrange bands. The low and 
high bands can act as either shelving filters (three types) 
or as a Peak (bandpass) or Cut (lowpass/highpass) filter.
Making settings
1.Click the corresponding On button to the left of the EQ 
curve display to activate any or all of the Low, Mid 1, Mid 2 
or High equalizer bands.
When a band is activated, a corresponding eq point appears in the EQ 
curve display.
2.Set the parameters for an activated EQ band.
This can be done in several ways:
 By using the knobs.
 By clicking a value field and entering values numerically.
 By using the mouse to drag points in the EQ curve display 
window.
By using this method, you control both the Gain and Fre-
quency parameters simultaneously. The knobs turn accord-
ingly when you drag points. 
The following parameters are available:
Parameter Description
Low Freq 
(20 to 2000 Hz)This sets the frequency of the Low band.
Low Gain
(-20 to +24 dB)This sets the amount of cut/boost for the Low band.
Low Q-Factor This parameter controls the width or resonance of the 
Low band. 
Low Filter 
modeFor the Low band, you can select between three types of 
shelving filters or Peak (bandpass) or Cut (lowpass/high-
pass) filters. The Gain parameter will be fixed if Cut mode 
is selected. 
-Shelf I adds resonance in the opposite gain direction 
slightly over the set frequency.
-Shelf II adds resonance in the gain direction at the set 
frequency.
-Shelf III is a combination of Shelf I and II.
Mid 1 Freq (20 
to 20000 Hz)This sets the center frequency of the Mid 1 band. 
Mid 1 Gain 
(+/- 24 dB)This sets the amount of cut/boost for the Mid 1 band.
Mid 1 Q-Factor
(0.5 to 10)This sets the width of the Mid 1 band. The higher this 
value, the “narrower” the bandwidth.
Mid 2 Freq
(20 to 
20000 Hz)This sets the center frequency of the Mid 2 band. 
Mid 2 Gain 
(-20 to +24 dB)This sets the amount of cut/boost for the Mid 2 band.
Mid 2 Q-Factor 
(0.5 to 10)This sets the width of the Mid 2 band. The higher this 
value, the “narrower” the bandwidth.
High Freq 
(200 to 
20000 Hz)This sets the frequency of the High band.
High Gain
(-20 to +24 dB)This sets the amount of cut/boost for the High band.
High Q-Factor This parameter controls the width or resonance of the 
High band. 
High Filter 
modeFor the High band, you can select between three types of 
shelving filters, and Peak or Cut filters. The Gain parame-
ter will be fixed if Cut mode is selected.
-Shelf I adds resonance in the opposite gain direction 
slightly below the set frequency.
-Shelf II adds resonance in the gain direction at the set 
frequency.
-Shelf III is a combination of Shelf I and II.
Output
(-24 to +24 dB)This parameter allows you to adjust the overall output 
level.
Auto  Gain When this is activated, the gain is automatically adjusted, 
keeping the output level constant regardless of the EQ 
settings. Parameter Description 
						

							22
The included effect plug-ins
Filter plug-ins
This section contains descriptions of the plug-ins in the 
“Filter” category.
DualFilter
This effect filters out certain frequencies while allowing oth-
ers to pass through.
The following parameters are available:
NuendoEQ2
The NuendoEQ2 plug-in is identical to the EQ section in 
the Channel Settings window. As a plug-in, NuendoEQ2 
can be applied in different areas than the Channel EQ. For 
example, you could use it as an insert effect, to EQ the 
output of another effect plug-in, etc. See the Operation 
Manual chapter “The mixer” for a description of the EQ 
parameters.
Parameter Description
Position This parameter sets the filter cutoff frequency. If you set 
this to a negative value, DualFilter will act as a low-pass 
filter. Positive values cause DualFilter to act as a high-
pass filter.
Resonance Sets the sound characteristic of the filter. With higher 
values, a ringing sound is heard. 
						

							23
The included effect plug-ins
PostFilter
The PostFilter is the filter plug-in to use if you are working 
on a post-production mix, but of course you can use it in 
music production, too, as an alternative to complex EQ 
configurations. It allows quick and easy filtering of un-
wanted frequencies, creating room for the important 
sounds in your mix. 
The PostFilter plug-in combines a low-cut filter, a notch fil-
ter and a high-cut filter. You can either make settings by 
dragging the handles in the graphic display, or by adjusting 
one of the parameter controls below the display section.
Use the Preview buttons to compare the result of your fil-
tering and the filtered frequencies.
The following parameters are available:
Parameter Description
Level meter Displays the output level, giving you an indication of how 
the filtering affects the overall level of the edited event.
Lo Cut Freq
(20–1000 Hz)Use this low-cut filter to eliminate low-frequency noise. 
Filter is Off when the handle/knob is moved all the way to 
the left. 
Lo Cut Preview Use the Preview button (found between the Lo Cut Freq 
button and the graphic display) to switch the filter to a 
complementary high-cut filter. This deactivates any other 
filters, allowing you to listen only to the frequencies you 
want to filter out.
Notch Freq Sets the frequency of the notch filter.
Notch Gain Allows you to adjust the gain of the selected frequency. 
Use positive values to identify the frequencies that you 
want to filter out.
Notch Q-Factor Sets the width of the notch filter. 
Notch filter 
PreviewUse the Preview button (found between the notch filter 
buttons and the graphic display) to create a band-pass 
filter with the peak filter’s frequency and Q. This deacti-
vates any other filters, allowing you to listen only to the 
frequencies you want to filter out.
Notches (1, 2, 4, 
8)These buttons add one or more additional notch filters to 
filter out harmonics.
Hi Cut Freq
(3–20 kHz)Use this high-cut filter to eliminate high-frequency noise. 
Filter is Off when the handle/knob is moved all the way to 
the right.
Hi Cut Preview Use the Preview button found between the Hi Cut Freq 
button and the graphic display) to switch the filter to a 
complementary low-cut filter. This deactivates any other 
filters, allowing you to listen only to the frequencies you 
want to filter out. Parameter Description 
						

							24
The included effect plug-ins
Q
Q is a high-quality 4-band parametric stereo equalizer 
with two fully parametric midrange bands. The low and 
high bands can act as either standard shelving filters or 
fixed-gain high/low-cut filters.
Making settings
1.Click the corresponding On button below the EQ 
curve display to activate any or all of the Low, Mid 1, Mid 2 
or High equalizer bands.
When a band is activated, a corresponding eq point appears in the EQ 
curve display.
2.Set the parameters for an activated EQ band.
This can be done in several ways:
 By using the knobs.
 By clicking a value field and entering values numerically.
 By using the mouse to drag points in the EQ curve display 
window.
By using this method, you control both the Gain and Frequency parame-
ters simultaneously. The knobs turn accordingly when you drag points. In 
addition, if the Mid 1 and Mid 2 bands (M1 and M2) are activated there 
will be two points on each side of the Gain/Frequency point that control 
the width (Q) parameter.
If you press [Shift] while dragging, values can be set in finer increments.
Parameters
Parameter Description
Low Freq
(20–2000 Hz)This sets the frequency of the Low band.
Low Gain
(-20 to +20 dB)This sets the amount of cut/boost for the Low band.
Low Cut If this button is activated for the Low band, it will act as a 
Low Cut filter. The Gain parameter will be fixed.
Mid 1 Freq
(20–20000 Hz)This sets the center frequency of the Mid 1 band. 
Mid 1 Gain 
(+/- 20 dB)This sets the amount of cut/boost for the Mid 1 band.
Mid 1 Width
(0.05–5.00
Octaves)This sets the width of the Mid 1 band, in octaves. The 
lower this value, the “narrower” the bandwidth.
Mid 2 Freq
(20–20000 Hz)This sets the center frequency of the Mid 2 band. 
Mid 2 Gain 
(-20 to +20 dB)This sets the amount of cut/boost for the Mid 2 band.
Mid 2 Width 
(0.05–5.00 
Octaves)This sets the width of the Mid 2 band, in octaves. The 
lower this value, the “narrower” the bandwidth.
High Freq
(200–20000 Hz)This sets the frequency of the High band.
High Gain
(-20 to +20 dB)This sets the amount of cut/boost for the High band.
High Cut If this button is activated for the High band, it will act as a 
High Cut filter. The Gain parameter will be fixed.
Output (-20 to 
+20 dB)This parameter allows you to adjust the overall output 
level.
Left/Stereo/
Right/Mono 
ModesFor stereo signals you can set independent curves for the 
left and right channels by clicking the corresponding but-
ton. If the Stereo mode is activated, the curve will be ap-
plied to both channels. 
When channel independent curves have been set, the left/
right channel curves will be colored green and red, re-
spectively. The currently non-selected channel is shown 
with a dotted curve. If you activate Stereo mode after inde-
pendent curves have been set, the currently active curve 
will be applied to both channels.
Mono mode is automatically activated for mono signals 
and is otherwise unavailable. 
						

							25
The included effect plug-ins
StepFilter
StepFilter is a pattern-controlled multimode filter that can 
create rhythmic, pulsating filter effects.
General operation
StepFilter can produce two simultaneous 16-step patterns 
for the filter cutoff and resonance parameters, synchronized 
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.
The horizontal axis shows 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 cut-
off and resonance parameters, you can hear how your filter 
patterns affect the sound source connected to StepFilter 
directly.
Selecting new patterns 
Created patterns are saved with the project, and up to 8 
different cutoff and resonance patterns can be saved in-
ternally. 
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 loca-
tion, which is useful for creating variations on a pattern.
Select the pattern you wish to copy, click the Copy but-
ton, select another pattern memory location and click Paste. 
						

							26
The included effect plug-ins
The pattern is copied to the new location, and can now be edited to cre-
ate variations using the original pattern as a starting point.
StepFilter parameters
ToneBooster
ToneBooster is a filter that allows you to raise the gain in a 
selected frequency range. It is particularly useful when in-
serted before AmpSimulator in the plug-in chain (see 
“AmpSimulator” on page 9), greatly enhancing the tonal 
varieties available.
The following parameters are available:
Tonic – Analog Modeling Filter 
Tonic is a versatile and powerful analog modeling filter 
plug-in based on the filter design of the Monologue mono-
phonic synthesizer. Its variable characteristics plus the 
powerful modulation functions make it an excellent choice 
for all current music styles. Designed to be more a creative 
tool rather than a tool to fix audio problems, it can add color 
and punch to your tracks while being light on CPU usage.
The Tonic Analog Modeling Filter has the following proper-
ties:
Dynamic multimode analog modeling filter (mono/stereo).
24 dB low pass, 18 dB low pass, 12 dB low pass, 6 dB 
low pass, 12 dB band pass and 12 dB high pass modes.
Adjustable drive and resonance up to self-oscillation.
Envelope follower for dynamic filter control with an au-
dio signal.
Audio and MIDI trigger modes.
Powerful step LFO with smoothing and morphing.
X/Y matrix pad for additional realtime modulation with 
access to all Tonic parameters.
Parameter/
ValueDescription
Base Cutoff This sets the base filter cutoff frequency. Cutoff values 
set in the Cutoff grid window are values relative to the 
Base Cutoff value.
Base 
ResonanceThis sets the base filter resonance. Resonance values set 
in the Resonance grid window are values relative to the 
Base Resonance value. Note that very high Base Reso-
nance settings can produce loud ringing effects at cer-
tain frequencies.
Glide This will apply glide between the pattern step values, 
causing values to change more smoothly.
Filter Mode  This slider selects between lowpass (LP), bandpass (BP) 
or highpass (HP) filter modes (from left to right respec-
tively).
Sync 1/1 to 
1/32 (Straight, 
Triplet or Dotted)This sets the pattern beat resolution, i.e. what note values 
the pattern will play in relation to the tempo. 
Output Sets the overall volume.
Mix Adjusts the mix between dry and processed signal.
Parameter Description
Tone This sets the center filter frequency.
Gain Allows you to adjust the gain of the selected frequency 
range by up to 24 dB. 
Width This sets the resonance of the filter.
Mode This sets the basic operational mode of the filter; Peak or 
Bandpass. 
						

							27
The included effect plug-ins
Filter
Env ModX/Y Pad
LFO Mod
Parameter Description
Mode Sets the filter type. Available filter types are: 24 dB Low 
pass, 18 dB Low pass, 12 dB Low pass, 6 dB Low pass, 
12 dB Band pass and 12 dB High pass.
Cutoff Sets the filter cutoff frequency. How this parameter oper-
ates is governed by the filter type.
Res Changes the resonance of the multi-mode filter. Full res-
onance puts the filter into self-oscillation.
Drive Drive adds a soft, tube-like saturation to the sound. Like 
for an analog filter, the amount of saturation also depends 
on the input signal level.
Mix Sets the balance between dry and effect signal.
Ch. Choose between mono or stereo operation. When set to 
mono, the output signal of Tonic will be mono regardless 
of the input signal.
Parameter Description
Mode Tonic offers three types of envelope modulation:
“Follow” tracks the input signal’s volume envelope for dy-
namic control of the filter cutoff.
“Trigger” uses the input signal to trigger the envelope 
and have it run through a single envelope cycle.
“MIDI” uses any MIDI note to trigger the envelope. The fil-
ter cutoff tracks the keys played on the keyboard. In addi-
tion velocities higher than 80 will add an accent to the 
envelope by increasing the envelope depth and reducing 
the decay time.
For MIDI control, set up a separate MIDI control track and 
select “Tonic” from the output pop-up menu for the track.
Attack Controls the attack time of the envelope. Higher attack 
times result in slower rise times when the envelope is 
triggered.
Release Controls the release time of the envelope. Higher release 
times result in slower envelope tails.
Depth Controls the amount of envelope control applied to the 
filter cutoff level.
LFO Mod Using this parameter, envelope level modulates the LFO 
speed. A rather stunning effect.Parameter Description
X Par Sets the parameter to be modulated on the x axis of the 
XY Pad. All of Tonic’s parameters are available as desti-
nations
Y Par Sets the parameter to be modulated on the y axis of the 
XY Pad.
XY Pad  Use the mouse to control any two of Tonic’s parameters 
in combination. By moving the mouse horizontally, you 
can control the x parameter, by moving it vertically, you 
can control the y parameter. You can also record control-
ler movements as automation data.
Parameter Description
Mode Sets the direction of the step LFO modulation. The avail-
able modes are: Forward, Reverse, Alternating, and Ran-
dom.
Depth Controls the amount of LFO modulation applied to the fil-
ter cutoff level.
Rate Controls the speed of the LFO modulation. The LFO rate 
is always in sync with the song tempo. For example: a 
rate of 4.00 steps per beat advances the step sequencer 
in 16th notes at a 4/4 time signature. A rate of 4.00 beats 
per step would advance the LFO at only one step per bar 
in a 4/4 time signature.
Smooth The smooth parameter controls the smoothing of the LFO 
steps. This works like a glide effect applied to the filter cut-
off.
Morph Morph controls the playback value of the LFO step se-
quencer. It makes the LFO steps drift about randomly. 
Experiment freely with the morph parameter. As you re-
turn the knob to its zero position the step pattern will re-
turn to its original setting.
Steps Sets the number of steps played in sequence. Deacti-
vated steps are grayed out in the step window.
Preset Offers a number of step LFO waveform patterns. 
Choices include: Sine, Sine+, Cosine, Triangle, Saw-
tooth, Square, Random and User (which is the pattern 
saved with the respective program).
Step Matrix Click into the step matrix to set the level for each of the 
16 LFO steps. A higher amount results in a deeper filter 
cutoff modulation. Click and drag along the matrix to 
“draw” a waveform. 
						

							28
The included effect plug-ins
WahWah
WahWah is a variable slope bandpass filter that can be 
auto-controlled by a side-chain signal or via MIDI model-
ing the well-known analog pedal effect (see below). You 
can independently specify the frequency, width and the 
gain for the Lo and Hi Pedal positions. The crossover 
point between the Lo and Hi Pedal positions is at 50.
The parameters are as follows: 
MIDI control
For real-time MIDI control of the Pedal parameter, MIDI 
must be directed to the WahWah plug-in.
Whenever the WahWah has been added as an insert 
effect (for an audio track or an FX channel), it will be avail-
able on the Output Routing pop-up menu for MIDI tracks.
If WahWah is selected on the Output Routing menu, MIDI will be di-
rected to the plug-in from the selected track.
Mastering – UV 22 HR 
The UV22 HR is a dithering plug-in, based on an advanced 
algorithm developed by Apogee. For an introduction to the 
concept of dithering, see the chapter “Audio Effects” in the 
Operation Manunal. 
The following options can be set in the UV 22 HR control 
panel:
Parameter Description
Pedal This controls the filter frequency sweep. 
Freq Lo/Hi Sets the frequency of the filter for the Lo and Hi Pedal 
positions. 
Width Lo/Hi Sets the width (resonance) of the filter for the Lo and Hi 
Pedal positions. 
Gain Lo/Hi Sets the gain of the filter for the Lo and Hi Pedal posi-
tions. 
Slope Specifies the slope of the filter; 6 dB or 12 dB.
Side-Chain
On/OffA signal routed to the Side-Chain input of the effect can 
control the Pedal parameter when this is activated. The 
louder the signal, the more the filter frequency (Pedal) is 
raised so the plug-in acts as an “auto-wha” effect.For a 
description on how to set up Side-Chain routing, see the 
chapter “Audio effects” in the Operation Manual.Option Description
Hi Try this first, it is the most “all-round” setting.
Low This applies a lower level of dither noise.
Auto black When this is activated, the dither noise is gated (muted) 
during silent passages in the material.
Bit Resolution The UV22 HR supports dithering to multiple resolutions: 
8, 16, 20 or 24 bits. You select the desired resolution by 
clicking the corresponding button.
!Dither should always be applied post output bus 
fader. 
						

							29
The included effect plug-ins
Modulation plug-ins
This section contains descriptions of the plug-ins in the 
“Modulation” category.
AutoPan
This is a simple autopan effect. It can use different wave-
forms to modulate the left-right stereo position (pan), either 
using tempo sync or manual modulation speed settings. 
The parameters are as follows: 
Chorus
This is a single stage chorus effect. It works by doubling 
whatever is sent into it with a slightly detuned version. See 
also “StudioChorus” on page 33.
The parameters are as follows:
Parameter Description
Rate If tempo sync is on, this is where you specify the base 
note value for tempo-syncing the effect (1/1 to 1/32, 
straight, triplet or dotted). 
If tempo sync is off, the auto-pan speed can be set freely 
with the Rate knob, without sync to tempo.
Tempo sync 
on/offThe button below the Rate knob is used to switch tempo 
sync on (the button lights up) or off. 
Width Sets the depth of the Autpan effect. 
Shape Sets the modulation waveform. Sine and Triangle wave-
forms are available.
Side-Chain
On/OffA signal routed to the Side-Chain input of the effect can 
control the Width parameter when this is activated. For a 
description on how to set up Side-Chain routing, see the 
chapter “Audio effects” in the Operation Manual.Parameter Description
Tempo sync 
on/offThe button below the Rate knob is used to switch tempo 
sync on or off. The button is lit when tempo sync is on.
Rate If tempo sync is on, this is where you specify the base 
note value for tempo syncing the chorus sweep (1/1 to 
1/32, straight, triplet or dotted).
If tempo sync is off, the sweep rate can be set freely with 
the Rate knob, without sync to tempo.
Width This determines the depth of the chorus effect. Higher 
settings produce a more pronounced effect.
Spatial This sets the stereo width of the effect. Turn clockwise 
for a wider stereo effect.
Mix Sets the level balance between the dry signal and the ef-
fect. If StudioChorus is used as a send effect, this should 
be set to maximum as you can control the dry/effect bal-
ance with the send. 
Delay This parameter affects the frequency range of the modu-
lation sweep, by adjusting the initial delay time. 
Shape This changes the shape of the modulating waveform, al-
tering the character of the chorus sweep. Sine and trian-
gle waveforms are available.
Filter Lo/Hi These parameters allow you to roll off low and high fre-
quencies of the effect signal, respectively.
Side-Chain 
On/OffWhen this is activated, the modulation can be controlled 
by a signal routed to the Side-Chain input. When the 
side-chain signal exceeds the threshhold the modulation 
will be controlled by the side-chain signal’s envelope. For 
a description on how to set up Side-Chain routing, see 
the chapter “Audio effects” in the Operation Manual. 
						

							30
The included effect plug-ins
Cloner
The Cloner plug-in adds up to four detuned and delayed 
voices to the signal, for rich modulation and chorus effects.
The parameters are as follows:
Flanger
Flanger is a classic flanger effect with added stereo en-
hancement.
The parameters are as follows:
Parameter Description
Voices This allows you to select the number of voices (up to 
four). For each added voice, a Detune and a Delay slider 
are added in the right half of the panel.
Spatial This spreads the added voices across the stereo spec-
trum. Turn clockwise for a deeper stereo effect.
Mix Sets the level balance between the dry signal and the ef-
fect. If Cloner is used as a send effect, this should be set 
to maximum as you can control the dry/effect balance 
with the send. 
Output Allows you to reduce or increase the output gain by up to 
+/- 12 dB.
Detune slider
1–4This controls the relative detune amount for each voice. 
Positive and negative values can be set, from -100 to 
100. A value of zero means no detune for that voice.
Delay slider
1–4This controls the relative delay amount for each voice. A 
value of zero means no delay for that voice.
Master Detune This parameter governs the overall depth of the detuning 
for all voices. If this is set to zero, no detuning takes 
place, regardless of the Detune slider settings.
Humanize Delay 
knobHumanize is turned on and off with the Static Delay button 
button below this knob. When activated the delay settings 
are subtly varied, for a richer effect. Values range from 0 to 
100 (strongest delay variation). If deactivated, the set de-
lay amount is static, and the knob is blacked out.
Humanize De-
tune knobHumanize is turned on and off with the Static Detune but-
ton below this knob. When activated, the detune settings 
are subtly varied, for a richer effect. Values range from 0 
to 100 (strongest detune variation). If deactivated, the set 
detune amount is static, and the knob is blacked out.
Master Delay This parameter governs the overall depth of the delay for 
all voices. If this is set to zero, no delay takes place, re-
gardless of the Delay slider settings.
Parameter Description
Tempo sync on/
offThe button below the Rate knob is used to switch tempo 
sync on or off. The button is lit when tempo sync is on.
Rate If tempo sync is on, this is where you specify the base 
note value for tempo syncing the flanger sweep (1/1 to 
1/32, straight, triplet or dotted).
If tempo sync is off, the sweep rate can be set freely with 
the Rate knob, without sync to tempo.
Range Lo/Hi This sets the frequency boundaries for the flanger sweep.
Feedback This determines the character of the flanger effect. 
Higher settings produce a more “metallic” sounding 
sweep.
Spatial This sets the stereo width of the effect. Turn clockwise 
for a wider stereo effect.
Mix Sets the level balance between the dry signal and the ef-
fect. If the Flanger is used as a send effect, this should be 
set to maximum as you can control the dry/effect balance 
with the send. 
Shape This changes the shape of the modulating waveform, al-
tering the character of the flanger sweep.
Delay This parameter affects the frequency range of the modu-
lation sweep, by adjusting the initial delay time. 
Manual If this is activated, the flanger sweep will be static, i.e. no 
modulation. You can instead change the sweep position 
manually by turning this knob.
Filter Lo/Hi These parameters allow you to roll off low and high fre-
quencies of the effect signal, respectively.
Side-Chain 
On/OffWhen this is activated, the modulation can be controlled 
by a signal routed to the Side-Chain input. When the 
side-chain signal exceeds the threshhold the modulation 
will be controlled by the side-chain signal’s envelope. For 
a description on how to set up Side-Chain routing, see 
the chapter “Audio effects” in the Operation Manual.