Steinberg Nuendo 5.5 New Features Manual

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Working with the new featuresAbout Group Editing
Limitations
Applying time stretching or pitch shifting to audio material can lead to a degradation in 
audio quality and to audible artifacts. The result depends on many factors, such as the 
source material, the particular stretch and pitch operations applied, and the selected 
audio algorithm preset. 
As a rule of thumb, smaller changes in pitch or duration cause less degradation. 
However, there are additional issues one should be aware of when working with time 
stretching and pitch shifting algorithms.
Reverse Playback and Scrubbing
Most of the algorithms used for time stretching and pitch shifting only support forward 
playback. Reverse playback or scrubbing of warped audio events can lead to 
recurring artifacts in the playback.
Pitch and Stretch Factor Limitations
Some algorithms may put limitations on the maximum degree of time stretching or 
pitch shifting supported. For the élastique presets, the maximum pitch shift factor is 4, 
and the stretch factor is limited to 10. In case your settings cause a higher factor, 
Nuendo displays a warning message and deactivates the algorithm for the affected 
events until the settings are changed to stay within the valid bounds.
About Group Editing
The Group Editing mode for folders allows you to quickly group events and parts 
across multiple tracks without having to select all the events or parts. This is useful for 
multi-track recordings of drum sets, where you often want to edit the different drum 
tracks (bass drum, snare, toms, etc.) together. Edit groups are also useful if you want 
to quantize multiple tracks.
You activate the Group Editing mode by clicking the Group Editing button (the “=” 
sign) for a folder in the track list.
If you select an event or part in Group Editing mode, the selection is applied across all 
tracks inside the folder track. All events or parts that have the same start time, end 
time, and playback priority are selected and grouped. If you create a selection range in 
Group Editing mode, it is also applied across all tracks in the folder track.
Edit actions, such as resizing, affect all grouped events, parts, or selection ranges. 
You can also switch between takes for all the selected tracks simultaneously, which is 
useful for comping the tracks of a multi-track recording.
ÖIn rare cases, editing warped audio events may cause discontinuities at the edit 
points. You can then try to move the edit point to a different position or bounce the 
audio event prior to editing. 
						

							12
Working with the new featuresWorking With Lanes
A grouping is automatically cancelled if you make a different selection or click in an 
empty area of the event display.
Working With Lanes
To simplify matters, the descriptions in the following paragraphs focus on cycle 
recordings with takes. However, you can also apply lane operations and comping 
methods on overlapping events or parts that you assemble on one track.
If you perform a cycle recording in the “Keep History” or in “Cycle History + Replace” 
modes (audio) or in the “Stacked” or “Mix-Stacked” modes (MIDI), the recorded cycle 
laps are shown on the track with the last recorded take active and shown on top.
The “Show Lanes” mode provides a very comfortable working environment and a 
good overview of all your takes. If you activate the “Show Lanes” button, the recorded 
takes are shown on separate lanes. 
Lanes are handled differently, depending on whether you work with audio or MIDI:
•Audio
As each audio track can only play back one single audio event at a time, you will 
only hear the take that is activated for playback (e.
 g. the last lap of a cycle 
recording). 
•MIDI
Overlapping MIDI takes (parts) can be played back simultaneously. For example, if 
you recorded in “Mix-Stacked” mode, you hear all takes from all cycle laps. There 
is no playback priority between lanes on a MIDI track.
Lanes can be reordered, sized, and zoomed like regular tracks.
In the following you will learn how to play back, cut, and activate different takes on 
different lanes.
ÖThe Group Editing setting overwrites any regular group settings in the edit group. For 
further information, see the 

ƒto display the recorded takes on different lanes. 
						

							13
Working with the new featuresWorking With Lanes
Comping Operations
After performing a cycle recording and activating the “Show Lanes” button to display 
the recorded laps on separate lanes, you have several possibilities to assemble a 
“perfect” take. This process is often referred to as comping. You can comp your takes 
using the Object Selection or the Range Selection tools. 
Comping With the Object Selection Tool
With the Object Selection tool selected, you can perform the following actions: 
•To select a take for playback, click on it in the event display.
The selected take is displayed in the current track color on the lane and on the 
main track. All other takes are dimmed. On playback, you will only hear the 
selected take.
•To audition a certain section of a take, hold down [Ctrl]/[Command] and click with 
the Speaker tool.
This works even if the take is not selected for playback.
•To cut a take, hold down [Alt]/[Option] and click at the position where you want to 
cut.
The cutting affects all lanes of a track. If you cut a MIDI part and the cut position 
intersects one or several MIDI notes, the result depends on the “Split MIDI Events” 
option in the Preferences dialog.
•To adjust the cut position, position the mouse pointer over a cut and move the cut 
point to the left or to the right. 
This way you can fine-tune your edits. If you position the mouse pointer in the 
lower part of a cut take, you will adjust the length instead.
•To correct the timing of a take, select the desired take, hold down 
[Ctrl]/[Command]-[Alt]/[Option] (the tool modifier for Slip Event) and drag with the 
mouse.
The mouse pointer changes its shape to indicate that you can change the timing.
Comping With the Range Selection Tool
With the Range Selection tool selected, you can perform the following actions: 
•To bring the selected range to front, select a range on a lane and double-click it.
Double-clicking the range brings it to front. 
						

							14
Working with the new featuresWorking With Lanes
•To glue cuts, select a range that spans all the cuts that you want to glue and 
double-click.
The gluing affects all the lanes of a track.
•To correct the timing of a range, hold down [Ctrl]/[Command]-[Alt]/[Option] (the 
tool modifier for Slip Event) and drag with the mouse.
The mouse pointer changes its shape to indicate that you can change the timing.
You can also perform a multi-track comping using edit groups, for example, to comp 
two guitar tracks recorded with different microphones.
Comping With the Cursor Keys
Another way of comping is to use the cursor keys to navigate through the takes and 
the lanes and the “Move To Front (Uncover)” key command (by default [U]) to bring 
the active take to front. 
Using the Solo Button
To solo a lane, you can activate the Solo button for it. This allows you to hear the lane 
in project context. If you want to hear the take without project context, you will also 
have to activate the main track’s Solo button.
Additional Steps
After rearranging the overlapping events so that you hear what you want, you can 
perform additional steps.
Audio
1.Apply auto fades and crossfades to the comped events. 
2.Select all events and select “Delete Overlaps” from the Advanced submenu on the 
Audio menu to put all events in the top lane and resize the events so that 
overlapping sections are removed. 
3.Open the Audio menu and select the “Bounce Selection” function to create a new 
and continuous event of all selected events.
MIDI
1.Open your takes in a MIDI editor to perform fine adjustments like removing or 
editing notes.
2.Select all parts in the Project window and use the “Merge MIDI in Loop” option 
from the MIDI menu with the “Erase Destination” option activated to create a single 
MIDI part containing your “perfect take”.
Öp EventŽ, Snap is taken into account.
ÖThe Solo button also comes in handy in case you used the lowest lane for assembling 
 
						

							15
Working with the new featuresAudio Editing Improvements
Audio Editing Improvements
Audio Processing
When offline processing is applied to audio events, you can now extend the 
processed range beyond the event borders. This is done in the extended section of 
the audio processing dialog. When “Extend Process Range” is activated, you can 
specify which portions of audio to the left and right of the event borders are affected 
(provided that the event plays only a part of the audio clip, i.
 e. audio is available 
outside the event borders). For example, this allows you to enlarge the event even 
after applying the processing.
Note that this option works globally. When you activate it for one offline process, it 
stays activated for all further processing until you switch it off again.
Audio Import
When creating split files from multi-channel files, you can now specify how the split 
files are named. This allows for compatibility with other products when exchanging 
audio files. 
Select an option from the “Split File Name Format” pop-up menu, which can be found 
below the “Split multi-channel files” or “Split channels” options in the Preferences 
dialog (Editing–Audio page), the Import Options dialog, or the Export Audio Mixdown 
dialog. This allows you, for example, to add the suffix “_L” to the left channel and the 
suffix “_R” to the right channel.
Ö
ÖThis only works if the entire audio event is selected (separately or as part of a 
selection range).
ÖWhen you try to process an event whose clip is also used by another event, a warning 
message appears. To apply the processing as specified (i. e. beyond the event 
 
						

							16
Working with the new featuresVideo Improvements
Video Improvements
Sometimes, video problems, such as stutters during playback, are caused by the 
codec not supporting multi-threading. This can be the case for video files that use 
single-threaded decoding, such as Motion-JPEG, Photo-JPEG, and QuickTime DV. 
This kind of file is typically created when capturing video with Decklink/AJA cards.
To compensate for this, the Video Player page in the Device Setup dialog now 
contains the “Boost Video (Reduce Audio Performance)” option.
When this option is activated, one of the available CPU cores is excluded from audio 
processing and reserved for video tasks like decoding and playback. However, this 
may reduce the audio performance.
VST Amp Rack
The VST Amp Rack is a powerful guitar amp simulator. It offers a choice of amplifiers 
and speaker cabinets that can be combined with stomp box effects. The audio effect 
plug-in processes the mono sum of the channel and outputs a mono or stereo signal, 
depending on the track configuration.
At the top of the plug-in panel there are six buttons, arranged according to the 
position of the corresponding elements in the signal chain. These buttons open 
different pages in the Display section of the plug-in panel: Pre-Effects, Amplifiers, 
Cabinets, Post-Effects, Microphone Position, and Master.
Below the Display section, the selected amplifier is shown. The color and texture of 
the area below the amplifier indicate the selected cabinet.
Pre/Post-Effects
On the Pre-Effects and the Post-Effects pages, you can select up to six common 
guitar effects. On both pages the same effects are available, the only difference being 
the position in the signal chain (before and after the amplifier). On each page, every 
effect can be used once.
ÖFor this option to have an effect, the Multi Processing option must also be activated in 
the Device Setup dialog (VST Audio System page). 
						

							17
Working with the new featuresVST Amp Rack
Each effect features an On/Off button known from stompbox effects, as well as 
individual parameters. The following effects and parameters are available:
EffectOptionDescription
Wah WahPedalControls the filter frequency sweep.
VolumePedalControls the level of the signal passing through the 
effect.
CompressorIntensityChanges the intensity of the compressor effect.
ChorusRateAllows you to set the sweep rate.
This parameter can be synchronized to the project 
tempo, see 
“Sync Mode” on page 18.
WidthDetermines the depth of the chorus effect. Higher 
settings produce a more pronounced effect.
PhaserRateAllows you to set the sweep rate.
This parameter can be synchronized to the project 
tempo, see 
“Sync Mode” on page 18.
WidthDetermines the width of the modulation effect between 
higher and lower frequencies.
FlangerRateAllows you to set the sweep rate.
This parameter can be synchronized to the project 
tempo, see 
“Sync Mode” on page 18.
FeedbackDetermines the character of the flanger effect. Higher 
settings produce a more “metallic” sounding sweep.
MixSets the level balance between the dry and the wet 
signal. 
TremoloRateAllows you to set the modulation speed.
This parameter can be synchronized to the project 
tempo, see 
“Sync Mode” on page 18.
DepthGoverns the depth of the amplitude modulation.
OctaverDirectAdjusts the mix of the original signal and the generated 
voices. A value of 0 means only the generated and 
transposed signal is heard. By raising this value, more of 
the original signal is heard.
Octave 1Adjusts the level of the signal that is generated one 
octave below the original pitch. A setting of 0 means 
that the voice is muted.
Octave 2Adjusts the level of the signal that is generated two 
octaves below the original pitch. A setting of 0 means 
that the voice is muted.
DelayDelaySets the delay time in milliseconds.
This parameter can be synchronized to the project 
tempo, see 
“Sync Mode” on page 18.
FeedbackSets the number of repeats for the delay.
MixSets the level balance between the dry and the wet 
signal.
Tape DelayDelayTape Delay creates a delay effect known from tape 
machines. The Delay parameter sets the delay time in 
milliseconds.
This parameter can be synchronized to the project 
tempo, see 
“Sync Mode” on page 18.
FeedbackSets the number of repeats for the delay. 
						

							18
Working with the new featuresVST Amp Rack
Sync Mode
For some controls, the sync mode can be activated to synchronize the corresponding 
parameter with the tempo of the host application. These plug-in parameters are then 
used to specify the base note value for tempo syncing (1/1 to 1/32, straight, triplet, or 
dotted).
The names of these parameters are underlined. Click on a control knob to 
activate/deactivate tempo sync. An LED at the top right of the knob indicates that 
Sync mode is active. You can then select a base note value for tempo syncing from 
the pop-up menu above the control.
MixSets the level balance between the dry and the wet 
signal.
Tape Ducking 
DelayDelayTape Ducking Delay creates a delay effect known from 
tape machines with a ducking parameter. The Delay 
parameter sets the delay time in milliseconds.
This parameter can be synchronized to the project 
tempo, see 
“Sync Mode” on page 18.
FeedbackSets the number of repeats for the delay.
DuckWorks like an automatic mix parameter. If the level of the 
input signal is high, the portion of the effect signal is 
lowered, i.
 e. ducked (low internal mix value).
If the level of the input signal is low, the portion of the 
effect signal is raised (high internal mix value). This way 
the delayed guitar signal stays rather dry during loud or 
intensely played passages. 
OverdriveDriveOverdrive creates a tube-like overdrive effect. The 
higher the Drive value, the more harmonics are being 
added to the output signal of this effect.
ToneWorks as a filter effect on the added harmonics.
LevelAdjusts the output level.
FuzzBoostFuzz creates a rather harsh distortion effect. The higher 
the Boost value, the more distortion is being created.
ToneWorks as a filter effect on the added harmonics.
LevelAdjusts the output level.
GateThresholdDetermines the level where Gate is activated. Signal 
levels above the set threshold trigger the gate to open, 
and signal levels below the set threshold close the gate.
ReleaseSets the amount of time it takes for the gate to close.
EqualizerLowChanges the level of the low-frequency portion of the 
incoming signal (from -12
 dB to 12 dB).
MiddleChanges the level of the mid-frequency portion of the 
incoming signal (from -12
 dB to 12 dB).
HighChanges the level of the high-frequency portion of the 
incoming signal (from -12
 dB to 12 dB).
ReverbTypeA convolution-based reverb effect. The Type parameter 
allows you to switch between different reverb types 
(Studio, Hall, Plate, and Room).
MixSets the level balance between the dry and the wet 
signal.
Effect Option Description 
						

							19
Working with the new featuresVST Amp Rack
Using Effects
•To insert a new effect, click the plus button that appears when hovering with the 
mouse over an empty plug-in slot or over one of the arrows before or after a used 
effect slot.
•To remove an effect from an effect slot, click on the effect name and select “None” 
from the pop-up menu.
On this pop-up menu you can also choose a different effect.
•To change the order of the effects in the chain, click on an effect and drag it to 
another position.
•To activate or deactivate an effect, click on the pedal-like button below the effect’s 
name.
When an effect is active, the LED next to the button is lit.
Amplifiers
The amps available on the Amplifiers page were modeled on real-life amplifiers. Each 
amp features settings typical for guitar recording, such as gain, equalizers, and master 
volume. The sound-related parameters (Bass, Middle, Treble, and Presence) have a 
significant impact on the overall character and sound of the corresponding amp.
The following amp models are available:
- Plexi – Classic British rock tone; extremely transparent sound, very responsive.
- Plexi Lead – British rock tone of the 70’s and 80’s.
- Diamond – The cutting edge hard rock and metal sounds of the 90’s.
- Blackface – Classic American clean tone.
- Tweed – Clean and crunchy tones; originally developed as a bass amp.
- Deluxe – American crunch sound coming from a rather small amp with a big tone.
- British Custom – Produces the sparkling clean or harmonically distorted rhythm 
sounds of the 60’s.
The different amps keep their settings when you switch models. However, if you want 
to use the same settings after reloading the plug-in, you need to set up a preset.
Using Amplifiers
•To switch amps on the Amplifiers page, simply click on the model that you want to 
use.
•Select “No Amplifier” if you only want to use the cabinets and effects.
Cabinets
The cabinets available on the Cabinets page simulate real-life combo boxes or 
speakers. For each amp, a corresponding cabinet type is available. However, you can 
combine amps and cabinets at will.
Using Cabinets
•To switch cabinets on the Cabinets page, simply click on the model that you want 
to use. Select “No Cabinet” if you only want to use the amps and effects.
•If you select “Link Amplifier & Cabinet Choice”, the plug-in automatically selects 
the cabinet corresponding to the selected amp model.
!Pre-effects are always mono, while post-effects can be mono or stereo, depending on 
the track configuration.
ÖUsing the Quick Controls in Nuendo, you can conveniently set up an external MIDI 
device such as a foot controller to control the VST Amp Rack effects. For more 
ick ControlsŽ in the Operation Manual. 
						

							20
Working with the new featuresVST Amp Rack
Microphone Position
On the Microphone Position page, you can choose between 7 positions to place the 
microphone. These positions result from two different angles (center and edge) and 
three different distances from the speaker, as well as an additional center position at 
an even greater distance from the speaker.
You can choose between two microphone types: a large-diaphragm condenser 
microphone and a dynamic microphone. Crossfading between the characteristics of 
the two microphones is also possible.
Placing the Microphone
•To select a microphone position, simply click on the corresponding ball in the 
graphic.
The selected position is marked in red.
•To select one of the microphone types or blend between the two types, turn the 
Mix control between the two microphones.
Master
Use the Master page to fine-tune the sound. There is an additional three-band 
Equalizer, a Tuner, and a Master level control for the output of the plug-in.
Using the Master Controls
•To activate/deactivate the Equalizer, click the pedal-like On/Off button.
When the Equalizer is active, the LED next to the button is lit.
•To activate/deactivate an equalizer band, click the corresponding Gain knob.
When a band is active, the LED to the left of the Gain knob is lit.
•To tune your guitar strings, click the pedal-like On/Off button to activate the Tuner 
and play a string.
When the correct pitch is displayed and the row of LEDs below the digital is 
green, the string is tuned correctly. The more red LEDs on the left/right are lit, the 
lower/higher the pitch.
•To mute the output signal of the plug-in, click the pedal-like Master button.
When the LED is off, the output is muted. Use this to tune your guitar in silence, for 
example.
•To change the volume of the output signal, use the Level control in the Master 
section.
View Settings
Two different views for the VST Amp Rack plug-in panel are available: the default view 
and a compact view, which takes up less screen space.
In the default view, you can use the top buttons to open the corresponding page in the 
Display section above the amp controls. In the compact view the page display is 
hidden from view. You can still change the amp settings and switch amps or cabinets 
using the mouse wheel.
•In the default view, you can horizontally resize the plug-in panel by clicking and 
dragging the edges or corners.
Using the Hover Controls
Hover controls are buttons that become visible on the plug-in frame if the mouse 
pointer is positioned somewhere on the plug-in panel.