Steinberg Cubase VST VST Plug-ins Manual

							 
VST plug-ins from previous
Cubase VST versions 
						

							 
Manual by Anders Nordmark
Quality Control: C. Bachmann, H. Bischoff, S. Pfeifer, C. Schomburg
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All rights reserved. 
						

							 
VST plug-ins from previous Cubase versions CUBASE SX/SL
 3 
Introduction
 
This document describes the VST effects from old versions of Cubase 
VST (Cubase VST 5 and earlier), included for reasons of compatibility. 
						

							 
CUBASE SX/SL VST plug-ins from previous Cubase versions
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Cubase 5 audio effect plug-ins
 
Autopole
 
The Autopole is a filter effect containing two separate filters capable of 
operating in four different modes, an Envelope Generator and an LFO 
with four different waveforms. It also lets you choose between three dif-
ferent Signal Routing modes to control how an incoming signal should 
be sent through the filters.
The Autopole should be used as an insert effect. If you want to apply 
it on several channels at once, you can use it as an insert effect on a 
group channel and route the desired channels to the group channel.  
						

							 
VST plug-ins from previous Cubase versions CUBASE SX/SL
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The parameters for the different “sections” of the Autopole are the fol-
lowing: 
The Filters
 
Parameter Description  
Filter Mode buttons 
(LP, BP, HP, Notch)These buttons let you decide in which mode the Filter should op-
erate:
LP: This is a Low-Pass Filter that “filters out” the high frequency 
content of the incoming signal, according to a certain set thresh-
old level. Only signals below the threshold will pass through.
BP: This is a Band-Pass filter that only lets signals around the set 
frequency through, filtering out all other content.
HP: This is a High-Pass Filter that “filters out” the low frequency 
content of the incoming signal, according to a certain set thresh-
old level. Only signals above the threshold will pass through.
Notch: This is a filter that cuts off the signals around the set fre-
quency, leaving all other content unaffected.
Cutoff This is used for setting the Cutoff frequency, i.e. the threshold at 
which the filter should “kick in”. The farther to the right you drag 
the sliders, the higher the frequency.
Resonance This affects the resonance of the filter. Increasing the resonance 
gives a more pronounced, lively filter sound. Be wary of extremely 
high levels of resonance since they might induce unpleasant dis-
tortion.
LFO Mod These sliders govern how the filter cut-off frequencies are af-
fected by the LFO (see below). The sliders are “zero-centered”, 
meaning that in the middle position (zero) no LFO modulation will 
be applied. By dragging the sliders to the left or right, you cause 
an increasing amount of modulation to the cut-off frequency. The 
difference is that if you drag the sliders to the left, the waveform 
of the LFO is inverted, creating a different effect.
EG Mod These sliders work in conjunction with the Envelope Generator 
settings (see below). They control to which extent the cut-off fre-
quencies of the filters should be affected by the Envelope Gener-
ator. Drag the sliders to the right if you want to raise the cut-off 
frequencies and if you want to lower the frequencies, drag the 
sliders to the left. Leave the sliders in the middle position if you 
don’t want Envelope data to affect the cut-off frequencies. 
						

							 
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Signal Routing
 
By clicking one of the three buttons, you choose how an input stereo 
signal will pass though the filters. The signal flow chart to the left of 
the buttons indicates the path:  
•  
Option # 1 will have the signal from each channel pass through both 
of the filters in series (one after the other).  
•  
With option # 2, the signal from each channel will pass through both 
of the filters in parallel, and then be mixed at the output.  
•  
Finally, option # 3 causes the signals from both channels to each 
pass through a separate filter. I.e. the left signal only passes through 
Filter A, and the right signal only passes through Filter B. 
When using the Autopole with mono material, options 1 and 2 are the 
best choices (sending the signal through the filters in series or in paral-
 
lel, respectively).
 
Envelope Generator
 
This section controls how the input signal is converted into Envelope 
data. This, in its turn, affects the EG Mod sliders in the Filter sections 
and the Modulation slider in the LFO section: 
Parameter Description  
Attack This regulates how fast the Envelope Generator will respond to an input 
signal as it rises in sound level. The farther to the left you drag the slider, 
the faster the response will be.
Release This governs how fast the Envelope Generator will respond to an input 
signal as it drops in sound level. The farther to the left you drag the slider, 
the faster the response will be.  
						

							 
VST plug-ins from previous Cubase versions CUBASE SX/SL
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LFO
 
These are the controls for the Low Frequency Oscillator, used for 
adding continuous filter movement, wah-wah effects, etc: 
Output Controls
 
Chopper2
 
Chopper2 is an earlier version of the Chopper plug-in, included for 
reasons of compatibility. It has the same parameters as Chopper with 
the addition of independent input and output level settings. 
Parameter Description  
Frequency This slider controls the speed of the LFO. The farther to the right you 
drag the slider, the faster the oscillation will be.
Modulation Use this slider to control how the speed of the LFO should be modu-
lated by the Envelope Generator (and thus by the level of the input sig-
nal). If you drag the slider to the left, a loud input signal will cause the 
LFO to slow down and if you drag to the right, the LFO will speed up. 
In the middle position, the speed of the LFO is unaffected.
Waveform 
ButtonsThese buttons are used for choosing a waveform for the LFO. You can 
choose between Square, Sine, Saw and Triangle.  
Parameter Description  
Mix This controls the balance between the output from the Autopole and the in-
put signal. In the middle position, both signals are equally mixed. The higher 
you drag the slider, the more dominant the effect will be. Conversely, with 
lower settings the unaffected original signal will be more pronounced.
Gain This slider regulates the output level from the Autopole. The higher you 
drag the slider, the higher the level.
Sync When this is activated, the LFO will restart in intervals according to the 
current Song tempo, which is useful for tempo sync and special effects. 
Click the button to activate sync, and then click in the small display to the 
right to select at which note values the LFO should be restarted:
1/1, 1/2, 1/4, 1/8 or 1/16. 
For example, setting this to 1/4 will make the LFO restart on each beat 
(quarter note) according to the current tempo. 
						

							 
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Distortion
 
The Distortion effect plug-in is capable of producing anything from a 
soft “crunch” to all-out distortion.
The parameters are as follows: 
Parameter Values Description  
Input -24dB to 0dB Sets the Input level.
Output -24dB to 0dB Sets the Output level. As distortion generates 
harmonics, it increases the level of the processed 
signal. You can use the Output fader to compen-
sate for the level increase.
Shapes Linear, 
Non-linear 1, 
Non-linear 2Determines how much the input signal is affected 
by the distortion effect. 
Non-linear 2 will produce 
the strongest distortion.
Contour 0-100% This is a selective low pass filter, altering the 
tonal quality of the distortion.
Drive 0-100% Governs the amount of distortion.
Factory Presets Soft, Crunchy, Dirty, 
Wracky, EvilSelect one of five presets, which can be used as 
they are, or as a basis for further “tweaking”. Note 
that these presets are not stored parameter set-
tings, but different basic distortion algorithms.  
						

							 
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Karlette
 
The Karlette is a four-channel delay that emulates a “tape-loop” echo. 
The four “tape-heads” can be set to a certain note value or a certain 
time, depending on whether Tempo Sync is activated or not. 
For the four “tape-heads”, you can set the following parameters:
In addition, the following global parameters are available: 
Parameter Description  
Delay With the sync button activated, the delay can be set to a note value 
synchronized to the Cubase SX/SL tempo. If the sync button is 
deactivated, the delay can be freely set to a time value.
Volume The amplitude of the delay. With the knob turned all the way to the left, 
the delay is muted.
Damp The higher the value, the more the delay is dampened (the high fre-
quencies are attenuated) to produce a more subtle effect.
Pan Sets the stereo position for the delay.
Feedback Sets the number of delay repeats.  
Parameter Description  
Dry/Wet Sets the level balance between the dry signal and the effect. If Kar-
lette is used as a send effect, this should be set to maximum as you 
can instead control the dry/effect balance with the send. 
Sync Turns Tempo Sync on or off.  
						

							 
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Metalizer2
 
The Metalizer2 is an older version of the Metalizer plug-in, included for 
reasons of compatibility. 
MIDIComb
 
This is a comb filter, which can be described as one or several very 
short delays with high feedback, causing resonating peaks at certain 
frequencies. To operate, the MIDI Comb needs both audio and MIDI 
input. While the MIDI Comb is used as an insert effect on an audio 
channel, the signals that actually trigger it are the ones sent from a 
MIDI track. 
Setting Up
 
The MIDI Comb requires both an audio signal and a MIDI input to 
function. 
To set it up, proceed as follows: 
1. 
Select the audio to be affected by the MIDI Comb. 
This can be audio material from any Audio Track, or even a live audio input routed to a 
Audio Track (provided you have a low latency audio card). If a live audio input is used, 
monitoring must be set to input (the “In” buttons in the Inspector must be lit).
 
2. 
Select the MIDI Comb as an Insert effect for the Audio channel. 
Click the Edit button to open the MIDI Comb panel.