Steinberg Nuendo 5 Manual

							101
Recording
Recording audio in Stacked mode
When you record audio in cycle mode and the “Stacked” 
Cycle Record Mode is selected on the Transport panel, 
the following happens: 
• Each complete recorded cycle lap is turned into a separate 
audio event.
• The track is divided into “lanes”, one for each cycle lap.
• The events are stacked above each other, each on a different 
lane.
This makes it easy to create a “perfect take” by combining 
the best parts from the different cycle laps:
1.Zoom in so you can work comfortably with the stacked 
events.
If you play back the recorded section, only the lowest 
(last) take will be heard. 
2.To audition another take, either mute the lower take(s) 
with the Mute tool or move the takes between the lanes.
This can be done by dragging or by using the functions Move to Front/
Back on the context menu or the Edit menu.
3.Edit the takes so that only the parts you want to keep 
can be heard.
You can cut events with the Scissors tool, resize them, mute them or de-
lete them.
The sections that will be heard are indicated in green.
4.When you are satisfied with the result, select all 
events on all lanes and select “Delete Overlaps” from the 
Advanced submenu of the Audio menu.
This puts all events back on a single lane and resizes events so that over-lapped sections are removed.
5.To turn off the lane display mode for the track, click the 
Lane Display Type button in the track list and select 
“Lanes Off”.
If the button is hidden, you can bring it to view in the Track Controls Set-
tings dialog – see “Customizing track controls” on page 573.
The Lane Display Type button
Recording with effects
Normally you record the audio signals “dry” and add ef-
fects non-destructively during playback as described in 
the chapter 
“Audio effects” on page 195. However, Nu-
endo also allows you to add effects (and/or EQ) directly 
while recording. This is done by adding insert effects and/
or making EQ settings for the input channel in the Mixer.
ÖThis will make the effects become part of the audio file 
itself – you cannot change the effect settings after record
-
ing.
About the record format
When you record with effects, consider setting the bit res-
olution to 32 Bit Float. This is done in the Project Setup 
dialog on the Project menu. Note that this is not required 
in any way – you can also record with effects in 24 or 
16
 Bit format. 
However, there are two advantages to 32 Bit Float format:
•With 32 Bit Float recording, you do not risk clipping 
(digital distortion) in the recorded files.
This can of course be avoided with 24 or 16 Bit recording as well, but re-quires more care with the levels. 
						

							102
Recording
•Nuendo processes audio internally in 32 Bit Float for-
mat – recording in the same format means the audio qual-
ity will be kept absolutely pristine.
The reason is that the effect processing in the input channel (as well as any 
level or EQ settings you make there) is done in 32 Bit Float format. If you 
record at 16 or 24 Bit, the audio will be converted to this lower resolution 
when it is written to file – with possible signal degradation as a result.
Note also that it does not matter at which actual resolution 
your audio hardware works. Even if the signal from the au
-
dio hardware is in 16 Bit resolution, the signal will be 32 
Bit Float after the effects are added in the input channel.
An example
This example shows how to apply the “SoftClipper” effect 
while recording. Note that this is only an example. The prin
-
ciple is the same for all effects (or combinations of effects).
1.Set up an audio track for recording and select the de-
sired input bus.
For best results, also activate monitoring as this allows you to hear and 
try out your settings before actually recording. See 
“Monitoring via Nu-
endo” on page 97 for a description of monitoring via Nuendo.
2.Open the Mixer and make sure that the full extended 
view is shown.
To show the extended Mixer view, either click the arrow icon (“Show Ex-
tended Mixer”) in the Common Panel, select “Show Extended View” from 
the Window submenu of the Mixer context menu or use a key command 
(this can be set in the Key Commands dialog, see 
“Setting up key com-
mands” on page 581).
3.Locate the input channel (bus) from which you record.
If the input channels are hidden, click on the Show/Hide Input Channels 
button to the left.
4.Check the input level (of the signal coming into the au-
dio hardware) as described in the section “Setting input 
levels” on page 96 and adjust the level of the source audio 
if necessary.
5.Pull down the View Options pop-up menu for the input 
channel and select “Inserts”.
The View Options pop-up menu is opened by clicking the arrow button 
between the fader panel and the extended panel.
Now the extended panel for the input channel shows the 
insert slots.
6.Click on an insert slot and select an effect from the 
context menu.
As you see, the included effects are sorted into submenus – you will find 
the SoftClipper effect on the “Distortion” submenu.
The effect is loaded and activated and its control panel is 
automatically opened.
7.Adjust the effect parameters to your liking.
For detailed information on the Effect parameters, see the separate PDF 
document “Plug-in Reference”.
8.When the effect is set up as desired, you can check 
the level of the input channel by setting the Meters to 
post-fader (see 
“Setting input levels” on page 96). 
Use the input channel fader to adjust the level if needed.
9.Activate recording.
10.When you’re finished, you can play back the recorded 
audio track. 
As you can hear, the effect you applied is now a part of the actual audio file.
11.If you do not want to record more with the same plug-
in, deactivate it by clicking in the insert slot and selecting 
“No Effect”. 
						

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Recording
MIDI recording specifics
Activating MIDI Thru
Normally, when working with MIDI, you will have MIDI Thru 
activated in Nuendo, and Local Off selected in your MIDI 
instrument(s). In this mode, everything you play during re
-
cording will be “echoed” back out again on the MIDI out-
put and channel selected for the recording track.
1.Make sure that the “MIDI Thru Active” option is acti-
vated in the Preferences dialog (MIDI page).
2.Record enable the track(s) on which you want to 
record.
Now, incoming MIDI is “echoed” back out again for all record-enabled 
MIDI tracks. 
ÖIf you just want to use the Thru function for a MIDI 
track without recording, activate the monitor button for the 
track instead. This is useful, for instance, if you want to try 
out different sounds or play a VST instrument in realtime 
without recording your playing.
Setting MIDI channel, input, and output
Setting the MIDI channel in the instrument
Most MIDI synthesizers can play several sounds at the 
same time, each on a different MIDI channel. This is the 
key to playing back several sounds (bass, piano, etc.) from 
the same instrument. Some devices (such as General 
MIDI compatible sound modules) always receive on all 16 
MIDI channels. If you have such an instrument, there is no 
specific setting you need to make in the instrument. On 
other instruments, you will have to use the front panel con
-
trols to set up a number of “Parts”, “Timbres” or similar so 
that they receive on one MIDI channel each. See the man
-
ual that came with your instrument for more information.
Naming MIDI ports in Nuendo
MIDI inputs and outputs are often displayed with unneces-
sarily long and complicated names. However, you can re-
name your MIDI ports to more descriptive names:
1.Open the Device Setup dialog from the Devices menu.
2.Select the MIDI Port Setup item in the Device list.
The available MIDI inputs and outputs are listed. Under Windows, which 
device to choose depends on your system.
3.To change the name of a MIDI port, click in the “Show 
As” column and type in a new name.
After closing the dialog, the new name will appear on the MIDI Input and 
Output Routing pop-up menus.
Setting the MIDI input in the Inspector
You select MIDI inputs for tracks in the Inspector (the area 
to the left of the track list in the Project window):
1.Select the track by clicking in the track list.
To select multiple tracks, press [Shift] or [Ctrl]/[Command] and click. The 
Inspector shows the settings for the first selected track (for details, see 
“The Inspector” on page 41).
2.Click the track name in the Inspector to make sure that 
the topmost section is shown.
3.Pull down the Input Routing pop-up menu and select 
an input.
The available MIDI inputs are shown. The items on the menu depend on 
the type of MIDI interface you are using. 
•If you select the “All MIDI Inputs” option, the track will 
receive MIDI data from all available MIDI inputs.
•If you hold down [Shift]-[Alt]/[Option] and select a MIDI 
input, this will be used for all selected MIDI tracks.
Record Enable 
buttonMonitor 
button 
						

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Recording
Setting the MIDI channel and output
The MIDI channel and output settings determine where 
the recorded MIDI is routed during playback, but are also 
relevant for MIDI Thru in Nuendo. Channel and output can 
be selected in the track list or in the Inspector. The proce
-
dure below describes how to make the settings in the In-
spector, but it can be done in largely the same manner in 
the track list as well.
1.To select the track(s) and show the settings in the 
Inspector, proceed as when selecting a MIDI input (see 
above).
2.Pull down the Output Routing pop-up menu and se-
lect an output.
The available MIDI outputs are shown. The items on the menu depend on 
what type of MIDI interface you are using.
•If you hold down [Shift]-[Alt]/[Option] and select a MIDI 
output, this is selected for all selected MIDI tracks.
3.Use the Channel pop-up menu to select a MIDI chan-
nel for the track.
•If you set the track to MIDI channel “Any”, each MIDI 
event on the track will be sent out on the channel stored in 
the event itself.
In other words, the MIDI material will be played back on the channel(s) 
used by the MIDI input device (the MIDI instrument you play during re
-
cording).
Selecting a sound
You can select sounds from within Nuendo by instructing 
the program to send Program Change and Bank Select 
messages to your MIDI device. This is done using the 
“Patch Selector” and “Bank Selector” fields in the Inspec
-
tor or track list.
Program Change messages give access to 128 different 
program locations. If your MIDI instruments have more 
than 128 programs, Bank Select messages (set in the 
“Bank Selector” field) allow you to select different banks, 
each containing 128 programs.
ÖBank Select messages are recognized differently by 
different MIDI instruments. The structure and numbering 
of banks and programs may also vary. Consult the docu
-
mentation of your MIDI instruments for details.
ÖNote that it is also possible to select sounds by name. 
For descriptions of how to set this up, see the separate 
PDF document “MIDI Devices”.
Recording
Recording MIDI is done according to the basic recording 
methods (see 
“Basic recording methods” on page 91). 
When you finish recording, a part containing MIDI events 
is created in the Project window.
About overlap and the Record Mode setting
MIDI tracks are different from audio tracks when it comes 
to overlapping parts:
ÖAll events in overlapping parts are always played back. 
If you record several parts at the same locations (or move 
parts so that they overlap), you will hear the events in all 
parts on playback, even though some of the parts are ob
-
scured in the Project window.
When recording overlapping parts, the result depends on 
the Linear Record Mode setting on the Transport panel:
• If the record mode is set to “Normal”, overdub recording 
works as with audio tracks, i.
 e. if you record again where 
something has already been recorded, you get a new part that 
overlaps the previous one(s).
• If the record mode is set to “Merge”, the overdubbed events 
are added to the existing part.
• If the record mode is set to “Replace”, the new recording re-
places any existing events in the area on that track. 
						

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Recording
About punch in and out on MIDI tracks
Performing and setting up manual and automatic punch 
in/out recording for MIDI tracks is done in exactly the 
same way as for audio tracks. There is one thing to note, 
however: 
•Punching in and out on recordings with pitchbend or 
controller data (modulation wheel, sustain pedal, volume, 
etc.) may lead to strange effects (apparently hanging 
notes, constant vibrato, etc.).
If this happens, you may need to use the Reset item on the MIDI menu 
(see “The Reset function” on page 106).
About the Automatic MIDI Record Quantize function
If Auto Quantize is activated on the Transport panel (the 
“Auto Q” button), the notes you record are automatically 
quantized according to the current Quantize settings. For 
more information about quantizing, see 
“The quantizing 
functions” on page 392.
Recording MIDI in cycle mode
When you record MIDI in cycle mode, the result depends 
on which Cycle Record mode is selected on the Transport 
panel:
Cycle Record mode: Mix (MIDI)
For each completed lap, everything you record is added to 
what was previously recorded in the same part. This is use
-
ful for building up rhythm patterns, for example. Record a hi-
hat part on the first lap, the bass drum part on the second 
lap, etc. 
Cycle Record mode: Overwrite (MIDI)
As soon as you play a MIDI note (or send any MIDI mes-
sage), all MIDI you have recorded on previous laps is over-
written from that point on in the part. An example:
1.You start recording in an eight bar cycle.
2.The first take was not good enough – you start directly 
with a new take on the next cycle lap and overwrite the 
first take.
3.After recording the second take you let the recording 
roll on and listen, without playing anything. 
You find that the take was good up until bar seven, for example.
4.On the next lap, you wait until bar seven and start 
playing.
This way you will overwrite the last two bars only.
5.Make sure that you stop playing before the next lap 
begins – otherwise you will overwrite the entire take.
Cycle Record mode: Keep Last
Each completed lap replaces the previously recorded lap. 
Note the following:
•The cycle lap must be completed – if you deactivate re-
cording or press Stop before the cursor reaches the right 
locator, the previous take will be kept.
•If you do not play or input any MIDI during a lap, nothing 
happens (the previous take will be kept).
Cycle Record mode: Stacked/Stacked 2 (No Mute)
In this mode, the following happens: 
• Each recorded cycle lap is turned into a separate MIDI part.
• The track is divided into “lanes”, one for each cycle lap.
• The parts are stacked above each other, each on a different 
lane.
• All takes but the last one are muted (Stacked). 
• If Stacked 2 is selected, no muting takes place.
This makes it easy to create a “perfect take” by combining 
the best parts from the different cycle laps. You can edit 
the parts in the Project window (by cutting, resizing and 
deleting) or you can use a MIDI editor as in the following 
example:
1.Unmute the muted takes by clicking the parts with the 
Mute tool.
2.Select all takes (parts) and open them in the Key Edi-
tor for example.
3.Use the part list pop-up menu on the toolbar to select 
which part to edit.
See “Handling several parts” on page 405.
4.Remove or edit notes as desired. 
						

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Recording
5.When you are happy with the result, close the editor.
6.To turn it all into a single MIDI part (containing your 
“perfect take”), select all parts and select “Merge MIDI in 
Loop” from the MIDI menu.
7.In the dialog that opens, activate the Erase Destination 
option and click OK.
The remaining events in the parts are merged together into a single part.
Recording different types of MIDI messages
Notes
When you press and release a key on your synth or other 
MIDI keyboard, a Note On (key down) and a Note Off (key 
up) message are sent out. The MIDI note message also 
contains the information which MIDI channel was used. 
Normally, this information is overridden by the MIDI chan
-
nel setting for the track, but if you set the track to MIDI 
channel “Any”, the notes will be played back on their orig
-
inal channels.
Continuous messages
Pitchbend, aftertouch, and controllers (like modulation 
wheel, sustain pedal, volume, etc.) are considered as MIDI 
continuous events (as opposed to the momentary key 
down and key up messages). If you move the pitchbend 
wheel on your synthesizer while recording, this movement 
is recorded together with the key (Note On and Note Off 
messages), just as you’d expect. But the continuous mes
-
sages can also be recorded after the notes have been re-
corded (or even before). They can also be recorded on 
their own tracks, separately from the notes to which they 
belong. 
Say, for instance, that you record one or several bass 
parts on track 2. If you now set another track, like track 55, 
to the same output and MIDI channel as track 2, you can 
make a separate recording of just pitchbends for the bass 
parts on track 55. This means that you activate recording 
as usual and only move the pitchbend wheel during the 
take. As long as the two tracks are set to the same output 
and MIDI channel, it will appear to the MIDI instrument as 
if the two recordings were made at the same time.
Program Change messages
Normally, when you switch from one program to another 
on your keyboard (or whatever you use to record), a num
-
ber corresponding to that program is sent out via MIDI as 
a Program Change message. These can be recorded on 
the fly with the music, recorded afterwards on a separate 
track, or manually entered in the Key or List Editors. 
System Exclusive messages
System Exclusive (SysEx) is a special type of MIDI mes-
sage used to send data that only makes sense to a unit of 
a certain make and type. SysEx can be used to transmit a 
list of the numbers that make up the settings of one or 
more sounds in a synth. For details about viewing and ed
-
iting SysEx messages, see the section “Working with 
SysEx messages” on page 427.
The Reset function
The Reset function on the MIDI menu sends out note-off 
messages and resets controllers on all MIDI channels. 
This is sometimes necessary if you experience hanging 
notes, constant vibrato, etc.
There are two other options to perform a reset:
•Nuendo can automatically perform a MIDI reset on stop.
You can turn this function on or off in the Preferences dialog (MIDI page).
•Nuendo can automatically insert a reset event at the end 
of a recorded part. 
Open the Preferences dialog (MIDI page) and activate the “Insert Reset 
Events after Record” option. The inserted Reset event will reset controller 
data such as Sustain, Aftertouch, Pitchbend, Modulation, Breath Control, 
etc. This is useful if a MIDI part is recorded and the Sustain pedal is still 
held after stopping recording. Usually, this would cause all following parts 
to be played with Sustain, as the Pedal Off command was not recorded. 
This can be prevented by activating “Insert Reset Events after Record”.
!Use MIDI Filters to decide exactly which event types 
are recorded, see 
“Filtering MIDI” on page 107. 
						

							107
Recording
Retrospective Record
This feature allows you to capture any MIDI notes you play 
in Stop mode or during playback and turn them into a MIDI 
part “after the fact”. This is possible due to the fact that 
Nuendo can capture MIDI input in buffer memory, even 
when not recording.
Proceed as follows:
1.Enable the Retrospective Record option in the Prefer-
ences dialog (Record–MIDI page).
This activates the buffering of MIDI input, making Retrospective Record 
possible.
2.Make sure a MIDI track is record-enabled.
3.When you have played some MIDI material you want 
to capture (either in Stop mode or during playback), select 
Retrospective Record from the Transport menu (or use 
the key command, by default [Shift]-Num[*]).
The content of the MIDI buffer (i. e. what you just played) is 
turned into a MIDI part on the record enabled track. The 
part will appear where the project cursor was when you 
started playing – this means that if you played along dur
-
ing playback, the captured notes will end up exactly where 
you played them in relation to the project.
•The Retrospective Record Buffer Size setting in the 
Preferences dialog (Record–MIDI page) determines how 
much data can be captured.
MIDI Preferences
There are several other options and settings in the Prefer-
ences that affect MIDI recording and playback:
MIDI page
•Length Adjustment
Adjusts the length of notes so that there is always a short time between 
the end of one note and the start of another (of the same pitch and on the 
same MIDI channel). The time is set in ticks. By default there are 120 
ticks per 1/16 note, but you can adjust this with the MIDI Display Reso
-
lution setting on the same page.
Record–MIDI page
•Snap MIDI Parts to Bars
When this is activated, recorded MIDI parts will automatically be length-
ened to start and end at whole bar positions. If you are working in a 
Bars+Beats-based context, this can make editing (moving, duplicating, 
repeating, etc.) easier.
•Solo Record in MIDI Editors
If this is activated and you open a part for editing in a MIDI editor, its track 
is automatically record-enabled. Furthermore, Record Enable is deacti
-vated for all other MIDI tracks until you close the editor again. 
This makes it easier to record MIDI data when you’re editing a part – you 
will always be sure the recorded data ends up in the edited part and not on 
any other track.
•MIDI Record Catch Range in ms
When you record starting at the left locator, this setting helps you make 
sure that the very start of the recording is included. A very annoying 
scenario is when you have recorded a perfect MIDI take, only to find out 
that the very first note was not included – because you started playing a 
little bit too early! If you raise the Record Catch Range, Nuendo will 
catch the events played just before the recording start point, eliminating 
this problem. 
For a description of the other options, click the Help but-
ton in the Preferences dialog.
Filtering MIDI
The MIDI–MIDI Filter page in the Preferences dialog allows 
you to prevent certain MIDI messages from being recorded 
and/or “thruput” (echoed by the MIDI Thru function).
The dialog is divided into four sections:
SectionDescription
Record Activating any of these options prevents that type of MIDI 
message from being recorded. It can, however, be thru-put, and if already recorded, it will play back normally.
Thru Activating any of these options prevents that type of MIDI 
message from being thruput. It can, however, be recorded 
and played back normally. 
						

							108
Recording
Options and Settings
Recording-related Transport Preferences
A couple of settings in the Preferences dialog (Transport 
page) are relevant for recording. Set these according to 
your preferred method of work:
Deactivate Punch In on Stop
If this is activated, punch in on the Transport panel is auto-
matically deactivated whenever you enter Stop mode.
Stop after Automatic Punch Out
If this is activated, playback will automatically stop after 
automatic punch out (when the project cursor reaches the 
right locator and punch out is activated on the Transport 
panel). If the post-roll value on the Transport panel is set 
to a value other than zero, playback will continue for the 
set time before stopping (see below).
About Pre-roll and Post-roll
The pre-roll and post-roll value fields (below the left/right 
locator fields) on the Transport panel have the following 
functionality:
•By setting a pre-roll value, you instruct Nuendo to “roll 
back” a short section whenever playback is activated.
This applies whenever you start playback, but is perhaps most relevant 
when recording from the left locator (punch in activated on the Transport 
panel) as described below.
•By setting a post-roll value, you instruct Nuendo to play 
back a short section after automatic punch out before 
stopping.
This is only relevant when punch out is activated on the Transport panel 
and “Stop after Automatic Punch Out” is activated in the Preferences di-
alog (Transport page).
•To turn pre-roll or post-roll on or off, click the corre-
sponding button on the Transport panel (next to the pre/
post-roll value) or use the “Use Pre-roll” and “Use Post-
roll” options on the Transport menu.
An example:
1.Set the locators to where you want to start and end re-
cording.
2.Activate Punch in and Punch out on the Transport 
panel.
3.Activate the “Stop after Automatic Punch Out” option 
in the Preferences dialog (Transport page).
4.Set suitable pre-roll and post-roll times by clicking in 
the corresponding fields on the Transport panel and typ
-
ing in time values.
5.Activate pre-roll and post-roll by clicking the buttons 
next to the pre-roll and post-roll times so that they light up.
6.Activate recording.
The project cursor “rolls back” by the time specified in the pre-roll field 
and playback starts. When the cursor reaches the left locator, recording 
is automatically activated. When the cursor reaches the right locator, re
-cording is deactivated, but playback continues for the time set in the 
post-roll field before stopping.
Using the metronome
The metronome can output a click that can be used as a 
timing reference. The two parameters that govern the tim
-
ing of the metronome are tempo and time signature, as set 
on the tempo track and signature track, or in the Tempo 
Track Editor (see 
“Editing the tempo curve” on page 455). 
The metronome can use a either an audio click played 
back via the audio hardware, send MIDI data to a con
-
nected device which will play back the click or both.
You can also set up a precount (count-in) that will be 
heard when you start recording from Stop mode. This can 
be musical or time based (see 
“Setting up a time-based 
count-in” on page 110). 
ChannelsIf you activate a channel button, no MIDI messages on 
that MIDI channel will be recorded or thruput. Already re-corded messages will, however, be played back normally.
Controller Allows you to prevent certain MIDI controller types from 
being recorded or thruput.
To filter out a controller type, select it from the list at the 
top of the Controller section and click “Add”. It will ap-pear on the list below.To remove a controller type from the list (allow it to be re-corded and thruput), select it in the lower list and click 
“Remove”.
Section Description
Post-roll value field and on/off switch
Pre-roll value field and on/off switch 
						

							109
Recording
•To activate the metronome click, activate the Click but-
ton on the Transport panel. 
You can also select the “Metronome On” option on the Transport menu 
or use the corresponding key command (by default [C]). 
•To activate the precount, click the Precount button on 
the Transport panel.
You can also select the “Precount On” option on the Transport menu or 
set up a key command for this.
Metronome settings
You make settings for the metronome in the Metronome 
Setup dialog, opened from the Transport menu.
In the Metronome Options section, the following options 
are available:
If “Use Musical Precount” is selected, the following pre-
count options are available:
If “Use Time-Linear Count-In” is selected, the following 
count-in options are available (see 
“Setting up a time-
based count-in” on page 110 for details):
Further configuration options for MIDI and audio clicks are 
available in the Click Outputs section:OptionDescription
Metronome in 
Record/PlayAllows you to specify whether the metronome is heard 
during playback, recording or both (when Click is acti-vated on the Transport panel).
Use Musical 
PrecountActivates a musical count-in that is heard when you start 
recording from Stop mode.
Use Time-
Linear Count-InActivates a time-based count-in that is heard when you 
start recording from Stop mode.
Click on/off Precount on/off
OptionDescription
Precount BarsSets the number of bars the metronome counts in before 
recording starts.
Use Project 
Count BaseIf this option is activated, the metronome plays one click 
per beat according to the project count base. 
Use Count 
BaseIf this option is activated, a field appears to the right where 
you specify the “rhythm” of the metronome. For example, 
setting this to “1/8”, gives you eighth notes (two clicks per 
beat). It is also possible to create unusual metronome 
rhythms such as triplets.
Use Time Sign. 
at Rec. Start 
TimeWhen this is activated, the precount automatically uses 
the time signature and tempo set at the position where 
recording starts.
Use Time Sign. 
at Project TimeWhen this is activated, the precount uses the time signa-ture set on the tempo track. Furthermore, any tempo 
changes on the tempo track during the precount are ap-plied.
Use SignatureThis lets you set a time signature for the precount. In this 
mode, tempo changes on the tempo track do not affect 
the precount.
OptionDescription
Count-In ClicksIn this field you can set the number of clicks you hear be-fore playback or recording starts. You can set values 
from 1 to 20.
Interval in 
secondsUse this field to define a time interval for the clicks (from 
0.1 to 1.0 seconds). You can calculate the position of the first click by multi-plying the Count-In Click value with the specified interval 
and subtracting this value from the position of the left lo-cator.
EmphasisUse this pop-up menu to select an emphasized click. 
This is useful if you want to have an audible difference 
between the first and/or last click and the other clicks.
OptionDescription
Activate MIDI 
ClickSelects whether or not the metronome sounds via MIDI.
MIDI Port/
ChannelThis is where you select a MIDI output and channel for the 
metronome click. For the metronome click you can also select a VST instru-ment previously set up in the VST Instruments window.
Hi Note/
VelocitySets the MIDI note number and velocity value for the 
“high note” (the first beat in a bar).  
						

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Recording
Setting up a time-based count-in
In postproduction scenarios projects are rather time 
based than referencing to bars and beats. In these cases 
it is useful to set up a time-linear count-in as a timing ref
-
erence for your recordings.
A typical use case would be the synchronization of voice-
overs or dubbing versions. In these scenarios you find 
yourself frequently jumping to positions from which you 
want the recording to start. By setting the locators to the 
sections you want to record and defining a time-linear 
count-in, you can quickly assign, locate and hear the de
-
sired record start position in your project. 
Proceed as follows:
1.On the Transport panel, activate the metronome click, 
set up a suitable pre-roll value and activate Pre-roll.
2.Open the Transport menu and make sure that the 
“Start Record at Left Locator” option is activated.
3.On the Transport menu, select “Metronome Setup…”.
The Metronome Setup dialog opens.
4.In the Metronome Options section, make sure that the 
“Metronome in Record” option is activated.
5.Activate the “Use Time-Linear Count-In” option.
Options for the time-linear count-in are displayed in the “Count-In Op-
tions” section.
6.Set up the Count-In Options according to your needs.
7.Click OK to save your settings and close the Metro-
nome dialog.
8.Set the locators to the section you want to record.
If you want to record several sections, it is useful to set up cycle markers 
for all sections that you want to record (see 
“Cycle markers” on page 137).
9.Activate recording.
Your project is played back from the current project cursor position. When 
the project cursor reaches the position specified with the “Count-In 
Clicks” and “Interval in seconds” parameters, the Count-In is triggered. It 
stops when the cursor reaches the left locator and recording starts.
•You can also set the left locator to the position where 
you want recording to start, set the project cursor to a po
-
sition before the left locator, activate the Punch In button on 
the Transport panel and start playback. 
The defined time-linear count-in is triggered as the project cursor moves 
towards the left locator. When it reaches the left locator, recording is au-
tomatically activated.
Lo Note/
VelocitySets the MIDI note number and velocity for the “low 
notes” (the other beats). 
Activate  Audio ClickSelects whether or not the metronome sounds via the 
audio hardware.
BeepsWhen this is selected, the audio clicks will be beeps 
generated by the program. Adjust the pitch and level of 
the beeps for the “Hi” (first) beat and “Lo” (other) beats 
using the sliders below.
SoundsWhen this is selected, you can click in the “Sound” fields 
below to load any audio files for the “Hi” and “Lo” metro-nome sounds. The sliders set the level of the click.
Option Description