At its coronary heart, Cubase is concentrated on music creation, however that doesn’t cease it from performing properly with spoken/voice-centric tasks, mastering, audio post-production for TV and film and all the rest of it.
It doesn’t matter what type of material you’re producing, although, it’s quite common to end up with giant numbers of elements, tracks and channels filling up your Undertaking and MixConsole windows, particularly in the latter levels of production. Not solely can this sluggish your progress, it may lead to slip-ups when modifying elements and adjusting combine parameters, and can lead to inefficient use of the host system’s assets.
Helping you to work around such problems are Folder tracks, Group tracks, and Link Groups, all of which can be utilized individually or in mixture. Understanding the best choice(s) to use in totally different situations allows you to set issues up in a streamlined means before you even start laying tracks, and is a much quicker method of working than juggling and shifting tracks, channels and processors as soon as your undertaking has grown in measurement.
Folder tracks permit tracks in the Challenge window to be ‘nested’ right into a single encompassing monitor. On the timeline, a Folder monitor exhibits an element that’s a visual representation of the tracks inside the Folder, and any edits made to this Folder half are applied simultaneously to the opposite tracks inside the Folder. In addition, enabling a Folder monitor’s Group Edit Mode causes edits made on any monitor inside that folder to be duplicated to all other tracks inside the folder.
Folder tracks can be used to create logical groupings of the tracks and channels in your undertaking. For example, Cubase mechanically creates folders for enter and output channels, devices and more. Nevertheless, the place they are indispensable is when dealing with multi-tracked elements corresponding to drum kits, stacked vocal elements and so on, simplifying the modifying course of by making certain continuity across all associated elements.
Folder tracks aren’t instantly represented in MixConsole home windows. They don’t create a mixer channel, nor do they create any visual cues to indicate whether a channel’s monitor is inside a Folder (they do, nevertheless, play an element in channel ordering). Grouping mixer channels, then, is completed utilizing Group tracks. These create a buss to which other channels might be routed, offering each a master volume for those channels and a spot the place those channels may be processed concurrently.
A Group monitor can itself be routed to another Group monitor. A very good use for this is when working with an acoustic drum package. Let’s say you might have both prime and bottom mics on a snare drum; it is sensible for these two channels to be in a gaggle, so that – as soon as their relative volume is about – you possibly can modify the general quantity with a single fader, and process the combined signal with one plug-in chain and one set of send impact settings. The kick drum, too, might use a couple of mics and it also is sensible to give toms and cymbals their very own groups as properly. These Groups might then be routed to one other Group monitor that acts as the primary submix for the whole package, maybe with a buss compressor applied to tie the sound collectively and give it some punch.
Like Group tracks, Link Groups are primarily involved with managing mixer channels, however the two ideas are basically totally different. When channels are joined together in a Link Group, modifications made to the parameters of a type of channels shall be duplicated to all different channels in the group. This makes them ultimate for issues like becoming a member of multiple mono channels collectively into a multi-channel group, and as a result of they don’t create their very own buss, they can be simpler on the host pc than a Group monitor arrange to perform an identical activity.
Every Link Group specifies the channel parameters it should govern – mute/solo, sends, panning, and so on. If together with channel volume in a Link Group, you’ve the choice of controlling this with a VCA Fader – with no VCA Fader, modifications to a channel fader might be utilized to all other channels in the group; with a VCA Fader, modifications to particular person channel faders aren’t replicated, but modifications to the VCA Fader are applied to all channels in the group. Link Groups operate in a relative quite than absolute style, so any relative variations between linked parameters are retained when adjusting that parameter.
In follow, it’s normal to combine the above methods in alternative ways. A multi-tracked drum recording is a good way to discover this – in case you have one to hand, then dig it out, in any other case a quick net search should turn up some suitable example material.
1. Launch Cubase and create a brand new, empty challenge. Open the right-hand zone of the Challenge window, select the Media tab and use the File Browser to locate your multi-tracked drum stems. Drag these to the Venture window, creating a new monitor for each.
2. Open the Monitor Inspector and select the primary monitor. Within the Inspector, click on the arrow at the left of the monitor’s identify area, then choose a colour for the monitor. Repeat this for each monitor, assigning the identical colour to all.
three. Proper-click anyplace in the monitor record and choose Add Monitor > Folder. We’re creating solely a single Folder monitor, so enter 1 into the Rely subject in the dialogue window that opens, then click Add Monitor.
four. Locate the brand new Folder monitor and drag it to the top of the monitor listing and set its color in the Monitor Inspector (use a unique shade of the colour you used for the audio tracks). Change the Folder monitor’s identify to ‘Kit Folder’.
5. Select all the audio tracks in the monitor listing (but not the Package Folder monitor). Drag the tracks onto the Package Folder monitor, and release the mouse button when a inexperienced left-pointing arrow appears over the Folder monitor.
6. Trim the Folder monitor’s half, noticing how the audio elements comply with go well with. Now trim an audio half, noticing that the other audio elements are unaffected (enabling Group Edit mode on the folder would change this behaviour). Undo these modifications earlier than shifting on.
COLOUR-CODING Using a constant colour scheme for the tracks and elements in your tasks is a good way to make things extra visually intuitive. You’ll be able to modify and add to Cubase’s palette of 16 preset colors, in addition to naming colours to show you how to remain constant.
7. Click on the folder icon on the Package Folder monitor to cover its constituent tracks. Right-click in an empty space of the monitor record and choose Add Group Monitor. Copy the settings shown in the image above into the dialogue that opens, then click Add Monitor.
8. Change the color of the new Group monitor, using a unique shade of the colour you used for the audio tracks. Open the MixConsole and broaden the Routing rack on the prime of the mixer (chances are you’ll want to allow this from the mixer’s Racks menu).
9. Click the identify area of the primary drum audio channel, maintain [Shift], and then click on the final audio channel. Hold [Shift] and click the output-routing button in the Routing rack. Choose Drum Submix – all drum channels ought to now be routed to Drum Submix.
10. If the recording you’re utilizing employs a number of channels for a single drum (a prime and bottom snare mic, for instance), use the above technique to create new Group tracks for each of these, routed to the Drum Submix monitor (sometimes these might be mono groups).
11. witch to the Undertaking window. Increase Package Folder and move all the new Groups into the folder. Place the multi-mic teams in order that they sit alongside their related audio tracks. Again in the mixer, route the multi-mic audio channels to their new teams.
12. Solo your first multi-mic group, hit play, and then set the stability between the drum’s individual mics using their audio channels. If any individual mics needs processing or remedy, apply this to the audio monitor, too. Repeat this for all multi-mic groups.
TRACK AND CHANNEL VISIBLITY A great way of decluttering your Undertaking and MixConsole home windows is to disguise tracks, folders and groups that you simply don’t immediately want. You do this from the Visibility tab discovered in the left-hand zone of each Venture and MixConsole home windows.
13. Open the left-hand zone of the MixConsole. Choose the Visibility tab. Untick (ie, cover) the multi-mic audio channels, leaving just their groups visible. These Group tracks can now be used for mixing and processing the mixed mic alerts.
14. As well as combining multi-mic’d drums into teams, it’s widespread to create Group tracks for sets of related drums – toms or cymbals, as an example. Do this now, being positive to use stereo Groups so that the individual drums may be panned within their group.
15. Your recording might embrace individual mono channels which are part of a stereo pair – overheads and room mics for example. Create Folder tracks for any such left-right pairs, giving an appropriate identify to every and nest the audio tracks inside the new folders.
16. In the MixConsole, select the primary pair of L-R channels (clicking a name subject is usually the simplest means to choose a channel in the MixConsole). Click on the Link button at the prime of the MixConsole – the Link Group Settings panel will open.
17. Enter an applicable identify, similar to ‘Overheads’, then select (ie, tick) each choice aside from Use VCA Fader and Pan. Click OK to create the Link Group. Repeat this course of for another pairs of left-right channels.
18. You now have a comprehensive and environment friendly multi-channel drum setup that simplifies the modifying and mixing course of while retaining maximum flexibility for adding results and processors. Maintain experimenting with Folders, Groups and Link Groups so that you simply absolutely recognize their similarities and variations.
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