Mastering Cubase 4

Learn how to use Cubase 4 as top audio industry pros share their favorite cubase techniques.
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Electronic Musician magazine and Thomson Course Technology PTR have joined forces again to create the second volume in their Personal Studio Series, Mastering Steinberg's Cubase™. This single-issue magazine with the bonus DVD will focus on getting up to speed quickly with Steinberg's powerful cross-platform digital audio sequencer.

In addition to Thomson's easy-to-follow, step-by-step tutorials and color graphics examples for Steinberg's Cubase(tm) software, readers will get EM's famous in-depth applications articles and interviews. Edited and produced by the staff of Electronic Musician, this special issue will not only be a must-read for users of any version of Cubase™ software, but it will also deliver essential information for anyone recording/producing music in a personal-studio.

Cubase 4 Web Clips

Making Waves pg. 50
Web Clip 1: This example demonstrates six of the basic analog-type waveforms and synth-programming techniques discussed in this month's Square One. The same riff is heard six times, played by (respectively) a sine wave, a square wave, a thin pulse wave, a sawtooth wave, a sawtooth with a pitch envelope on the attack portion of each note, and a pulse wave whose pulse width is being modulated by an LFO. The instrument used was Applied-Acoustic Systems Ultra Analog VST.

Performance Enhancers pg. 90
Web Clip 1:
This clip uses DrumCore's Gabrielizer to mangle DrumCore drum and Virtual Bassist bass loops.
Web Clip 2:
The Stylus RMX Chaos Designer is used to process a factory ambient drum loop.
Web Clip 3:
The Groove Agent 2 randomizer, Virtual Bassist Modifiers, and Virtual Guitarist 2 Macro slice editing tools were used to add variation to this funk trio of factory sounds.
Web Clip 4:
Synful Orchestra is used exclusively in this excerpt from the Synful demo of Igor Stravinsky's "The Right of Spring."

Just Passing Through pg. 111
Web Clip 1:
In this example, a signal is first processed by a lowpass filter then by a highpass filter. All examples were created with the VirSyn Tera 2.0 modeled analog softsynth.
Web Clip 2:
Three sawtooth wave oscillators are detuned to provide a thicker sound. The unfiltered tone at the beginning crossfades into a tone filtered by a narrow bandpass filter.
Web Clip 3:
In this example, a synth sawtooth wave (a wave with lots of frequencies) is being processed by a lowpass filter. An envelope generator with a fast decay time is sweeping the filter cutoff frequency downward at the beginning of each note. The same patch is then processed with a slower envelope decay, which increases the length of the filter sweep.
Web Clip 4:
The same patch as in Web Clip 3, but now with added filter resonance.
Web Clip 5:
A lowpass filter whose cutoff frequency is being modulated by a slow LFO.