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User Manual: Steinberger Legacy Plugins Cubase VST Effects VSTi Steinberger - Legacy Plugins - Cubase VST Effects VSTi

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VST plug-ins from previous
Cubase VST versions

Manual by Anders Nordmark
Quality Control: C. Bachmann, H. Bischoff, S. Pfeifer, C. Schomburg
The information in this document is subject to change without notice and does not represent a commitment on the part of Steinberg Media Technologies GmbH. The software
described by this document is subject to a License Agreement and may not be copied
to other media except as specifically allowed in the License Agreement. No part of this
publication may be copied, reproduced or otherwise transmitted or recorded, for any
purpose, without prior written permission by Steinberg Media Technologies GmbH.
All product and company names are ™ or ® trademarks of their respective owners.
Windows XP is a trademark of Microsoft Corporation. The Mac logo is a trademark
used under license. Macintosh and Power Macintosh are registered trademarks.
© Steinberg Media Technologies GmbH, 2004.
All rights reserved.

Introduction
This document describes the VST effects from old versions of Cubase
VST (Cubase VST 5 and earlier), included for reasons of compatibility.

VST plug-ins from previous Cubase versions

CUBASE SX/SL
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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 different 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.

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VST plug-ins from previous Cubase versions

The parameters for the different “sections” of the Autopole are the following:
The Filters
Parameter

Description

Filter Mode buttons
(LP, BP, HP, Notch)

These buttons let you decide in which mode the Filter should operate:
LP: This is a Low-Pass Filter that “filters out” the high frequency
content of the incoming signal, according to a certain set threshold 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 threshold level. Only signals above the threshold will pass through.
Notch: This is a filter that cuts off the signals around the set frequency, 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 distortion.

LFO Mod

These sliders govern how the filter cut-off frequencies are affected 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 frequencies of the filters should be affected by the Envelope Generator. 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.

VST plug-ins from previous Cubase versions

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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 parallel, 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.

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LFO

These are the controls for the Low Frequency Oscillator, used for
adding continuous filter movement, wah-wah effects, etc:
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 modulated by the Envelope Generator (and thus by the level of the input signal). 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
Buttons

These buttons are used for choosing a waveform for the LFO. You can
choose between Square, Sine, Saw and Triangle.

Output Controls
Parameter Description
Mix

This controls the balance between the output from the Autopole and the input 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.

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.

VST plug-ins from previous Cubase versions

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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 compensate for the level increase.

Shapes

Linear,
Non-linear 1,
Non-linear 2

Determines 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, Select one of five presets, which can be used as
Wracky, Evil
they are, or as a basis for further “tweaking”. Note
that these presets are not stored parameter settings, but different basic distortion algorithms.

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VST plug-ins from previous Cubase versions

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:
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 frequencies are attenuated) to produce a more subtle effect.

Pan

Sets the stereo position for the delay.

Feedback

Sets the number of delay repeats.

In addition, the following global parameters are available:
Parameter

Description

Dry/Wet

Sets the level balance between the dry signal and the effect. If Karlette 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.
VST plug-ins from previous Cubase versions

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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.

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VST plug-ins from previous Cubase versions

3. Select a MIDI Track.
This can be an empty MIDI Track, or a MIDI Track containing data, it doesn’t matter.
However, if you wish to play the MIDI Comb in real-time - as opposed to having a recorded Part playing it - the Track has to be selected for the effect to receive the MIDI
output.

4. Open the Output column for the MIDI Track pop-up menu and select
MIDI Comb.
The MIDI Output from the Track is now routed to the MIDI Comb.

What to do next depends on whether you are using live or recorded
audio and whether you are using real-time or recorded MIDI. We will
assume for the purposes of this manual that you are using recorded
audio, and play the MIDI in real-time.
Make sure the MIDI Track is selected and start playback.
5. Now play a few notes on your MIDI keyboard.
As you can hear, the audio track material is affected by what you play on your MIDI keyboard.

The MIDI Comb is polyphonic with up to 8 voices, i.e. you can play up to
8 MIDI notes at once and each tone will produce a separate resonating
tone.

You can now make settings for the MIDI Comb using the following parameters:
Amp e.g.
Parameter

Description

Atk

Use this slider to set the attack time of the resonant tones created by the comb filter - i.e how soon they will start to resonate
after being triggered by MIDI notes. The farther down you drag
the slider, the slower the attack.

Rel

This controls the release time of the resonant tones created by
the comb filter - i.e. how soon the sound will be cut off. The farther up you drag the slider, the longer the sound will resonate.

VST plug-ins from previous Cubase versions

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Key Velocity Modifiers
Parameter

Description

Level

This determines how the filter responds to MIDI notes with different velocity values. At the middle setting, all tones produced by
the filter will sound at an equal level regardless of the velocity values of the MIDI notes that trigger them. If you move the slider upwards, MIDI notes with higher velocity values will produce louder
comb filter tones. Conversely, moving the slider downwards
causes the level of the filter tones to increase with lower MIDI
note velocities.

Res

This affects the resonance (feedback) of the produced tones depending on the velocity value of the MIDI notes that trigger them.
In the middle position, the resonance is unaffected regardless of
velocity. By dragging the slider upwards, tones triggered by MIDI
notes with a high velocity value will get increased resonance. By
dragging the slider downwards, tones triggered by MIDI notes
with a low velocity value will become more resonant.

HPF & LPF

The MIDI Comb features both a High-Pass filter and a Low-Pass
filter (see “Filters” below) that can be used for “filtering out” certain frequencies of the resonating tones according to a certain
set filter cutoff frequency. These two sliders determine how much
the High-Pass and Low-Pass filters should be affected by the
MIDI note velocity values. Positive values cause higher velocities
to increase the effect of the filters, negative values cause higher
velocities to decrease the effect.

Feedback
Parameter

Description

Feedback

This slider governs the amount of effect output from the MIDI
Comb that is fed back in again. The more effect feedback, the
more complex the sound. Drag the slider upwards to increase
feedback.

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VST plug-ins from previous Cubase versions

Filters
Parameter

Description

LP Cut-off

Use this to set the frequency threshold of the Low-Pass Filter.
This filter cuts off all of the high frequencies relative to the set
threshold. The farther up you drag the slider, the more of the high
frequencies will be allowed to pass through.

HP Cut-off

Use this to set the frequency threshold of the High-Pass Filter.
This filter cuts off all of the low frequencies relative to the set
threshold. The farther down you drag the slider, the more of the
low frequencies will be allowed to pass through.

Output
Parameter

Description

Mix

Use this to set the balance between the original, unprocessed
signal and the signal affected by the MIDI Comb. In the middle
position, they are equally mixed. Drag the slider upwards for a
more dominant effect sound and vice versa.

Gain

This controls the output level from the MIDI Comb. Drag the
slider upwards to increase the level.

VST plug-ins from previous Cubase versions

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Mysterizer

The Mysterizer is a multi-effect plug-in with a unique hands-on user
interface. It can be used as an insert effect or a send effect, and allows you to choose between eight different effects. For each effect,
you can control two parameters by clicking and dragging in the display, allowing for continuous real-time effect manipulation, subtle
sweeping changes or weird, wild mutations.
Here’s how to use the Mysterizer:
1. Play back some audio and route the audio channel through the Mysterizer (either as an insert or a send effect).
2. Open the Mysterizer effect control panel and click the Prog Select
field to the right to select the desired effect.
Each time you click, the next effect is selected. For a list of the effects, see below.

3. When you have selected an effect you want to use, the two text fields
to the left show you which parameters are controlled on the X-axis
and Y-axis respectively.
In the figure above, the Ring Mod effect is selected, with Amount controlled on the X-axis
and Frequency on the Y-axis.

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VST plug-ins from previous Cubase versions

4. Click in the display and drag the hair cursor to change the parameter
settings.
The X-axis goes from left to right and the Y-axis goes from top to bottom, which means
that the “zero setting” for both axes is in the upper left corner of the display.

5. Experiment!
The Rate and Overshoot knobs

When you move the hair cursor, you will see how the small white dot
moves to follow your adjustments. This represents the actual parameter settings. The Rate and Overshoot controls at the bottom of the
window control how quickly and accurately the white dot follows your
movements - in other words how your mouse movements are “interpreted” by the effect.
•

The Rate knobs determine how fast the Mysterizer will respond when
you move the hair cursor to a new position.
You can make independent settings for the X- and Y-axis.

•

The Overshoot knobs determine how far from “the target position” the
white dot will be allowed to stray along the corresponding axis when
moving the hair cursor.
Moderate settings can give a more natural feel when a parameter is changed. Maximum Overshoot settings (turning the knob all the way to the right) will cause constant
movement back and forth along the corresponding axis relative to the target position,
because the white dot will never “reach the target” and come to rest. This can create
an undulating, LFO-like special effect, the speed and range of which can be controlled
with the corresponding Rate knob.

VST plug-ins from previous Cubase versions

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The Effects

The following effects are available:
•

Ring Modulator
An effect with which the incoming audio is ring modulated by an internal, variable frequency oscillator, thereby producing new harmonics.
X-axis governs the amount of effect, Y-axis the frequency of the built-in oscillator.

•

Comb Delay
A delay with high feedback, causing resonating peaks at certain frequencies.
X-axis governs the feedback amount, Y-axis the manual delay time (pitch).

•

Mono Delay
A monaural delay. X-axis controls the delay feedback, Y-axis the delay time.

•

Stereo Delay
A stereo delay with which the repeats are heard in both the left and right channels.
X-axis controls the delay feedback, Y-axis the delay time.

•

Low-Pass Filter (LP)
A filter that cuts off high frequencies according to a set frequency threshold. Only
signals below the cut-off frequency will be heard.
X-axis governs the filter resonance, Y-axis the cutoff frequency.

•

High-Pass Filter (HP)
A filter that cuts off low frequencies according to a set frequency threshold. Only
signals above the cut-off frequency will be heard.
X-axis governs the filter resonance, Y-axis the cutoff frequency.

•

Band-Pass Filter (BP)
A filter that cuts off all frequencies except those around the set cut-off frequency.
X-axis governs the filter resonance, Y-axis the cutoff frequency.

•

Distortion
A standard distortion effect.
X-axis controls the drive (distortion) amount, Y-axis serves as a tone control.

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VST plug-ins from previous Cubase versions

PhatSync

PhatSync is a pattern-controlled multimode filter that can create
rhythmic, pulsating filter effects.
General Operation

PhatSync can produce two simultaneous 16-step patterns for the filter cutoff and resonance parameters, synced to the sequencer tempo.
Setting Step Values

•

Setting step values is done by clicking in the pattern grid windows.
Individual step entries can be freely dragged up or down the vertical axis, or directly set
by clicking in an empty grid box. By click-dragging left or right consecutive step entries
will be set to the pointer position.

Setting filter cutoff values in the grid window.

VST plug-ins from previous Cubase versions

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•

The horizontal axis show the pattern steps 1-16 from left to right, and
the vertical axis determines the (relative) filter cutoff frequency and
resonance setting.
The higher up on the vertical axis a step value is entered, the higher the relative filter
cutoff frequency or filter resonance setting.

•

By starting playback and editing the patterns for the cutoff and resonance parameters, you can hear how your filter patterns affects the
sound source connected to PhatSync directly.

Selecting New Patterns

•

Created patterns are saved with the song, and up to 8 different Cutoff
and Resonance patterns can be saved internally.
Both the Cutoff and Resonance patterns are saved together in the 8 Pattern memories.

•

To select new patterns you use the Pattern Selector.
New patterns are all set to the same step value by default.

Pattern Selector.

Using Pattern Copy and Paste to create variations
You can use the Copy and Paste buttons below the Pattern selector
to copy a pattern to another Pattern memory location, which is useful
for creating variations on a pattern.
•

Click the Copy button with the pattern you wish to copy selected,
then select another Pattern memory location, and click Paste.
The pattern is copied to the new location, and can now be edited to create variations
using the original pattern as a starting point.

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VST plug-ins from previous Cubase versions

PhatSync Parameters
Parameter/Value

Description

Base Cutoff

This sets the base filter cutoff frequency. Cutoff values
set in the Cutoff Grid windows are values relative to the
Base Cutoff value.

Base Resonance

This sets the base filter resonance. Resonance values set
in the Resonance Grid windows are values relative to the
Base Resonance value. Note that very high Base Resonance settings can produce loud ringing effects at certain
frequencies.

Glide

This will apply glide between the pattern step values,
causing values to change more smoothly.

Filter Mode (LP, BP, HP)

This selects between lowpass (LP), bandpass (BP) or
highpass (HP) filter modes.

Sync (1/32, 1/16, 1/8, 1/4) This sets the pattern beat resolution, i.e. what note values
the pattern will play in relation to the tempo.
Mix

Adjusts the mix between dry and processed signal.

Gain

Sets the overall volume.

Reverb (PC only)
This is an earlier version of the Reverb B plug-in, included for reasons
of compatibility.

Reverb 32 (PC only)
This is an earlier version of the Reverb A plug-in.

VST plug-ins from previous Cubase versions

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Ring Modulator

This is an earlier version of the Ringmodulator plug-in, with slightly different panel layout and parameters.
The Ring Modulator can produce complex, bell-like enharmonic
sounds. Ring Modulators work by multiplying two audio signals together. The ring modulated output contains added frequencies generated by the sum of, and the difference between, the frequencies of the
two signals.
The Ring Modulator has a built-in oscillator that is multiplied with the
input signal to produce the effect.
Parameters
Parameter

Description

Oscillator LFO Mod

LFO Mod controls how much the oscillator frequency is affected
by the LFO.

Oscillator EG Mod

EG Mod controls how much the oscillator frequency is affected
by the Envelope (which is triggered by the input signal). Positive
and negative values can be set, with center position representing no modulation. Left of center, a loud input signal will decrease the oscillator pitch, whereas right of center the oscillator
pitch will increase when fed a loud input.

Oscillator Wave

Selects the oscillator waveform; square, sine, saw or triangle.

Oscillator Range

Determines the frequency range of the oscillator in Hz.

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VST plug-ins from previous Cubase versions

Parameter

Description

Freq

Sets the oscillator frequency +/- 2 octaves within the selected
range.

Roll Off

Cuts high frequencies in the oscillator waveform, to soften the
overall sound. This is best used when harmonically rich waveforms are selected (e.g. square or saw).

Stereo Phase Invert

Flips the phase of the oscillator waveform on the right channel.

LFO Waveform

Selects the LFO waveform; square, sine, saw or triangle.

LFO Freq

Sets the LFO Speed.

EG Mod

Controls how much the input signal level - via the Envelope
Generator - affects the LFO Speed. Positive and negative values
can be set, with center position representing no modulation. Left
of center, a loud input signal will slow down the LFO, whereas
right of center a loud input signal will speed it up.

Stereo Invert

This inverts the LFO waveform for the right channel of the oscillator, which produces a wider stereo perspective for the modulation.

Retrig

Causes the LFO cycle to reset itself at the start of each bar during playback, which can be used for certain LFO effects synced
to the tempo.

Envelope Generator The Envelope Generator section controls how the input signal is
converted to envelope data, which can then be used to control
oscillator pitch and LFO speed. It has two main controls:
Attack sets how fast the EG output level rises in response to a
rising input signal.
Decay controls how fast the EG output level falls in response to
a falling input signal.
Lock L
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Title                           : Cubase SX/SL – VST plug-ins from previous Cubase VST versions

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