Nuendo 4 - Software license & extension STEINBERG - Free user manual and instructions

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USER MANUAL Nuendo 4 STEINBERG

Getting Started Einführung Prise en Main GS_Nuendo_GBDF.book Seite 1 Montag, 17. März 2008 2:50 14Tutorials by Steve Kostrey Working with Video and Audio Editing to Picture by Ashley Shepherd Revision and Quality Control: Cristina Bachmann, Heiko Bischoff, Marion Bröer, Sabine Pfeifer Thanks to: Georg Bruns, Mert Ergün 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 publica- tion 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. Windows Vista is either a registered trademark or trademark of Microsoft Corporation in the United States and/or other countries. The Mac logo is a trademark used under license. Macintosh and Power Macintosh are registered trademarks. Release Date: April 02, 2008 © Steinberg Media Technologies GmbH, 2008. All rights reserved. GS_Nuendo_GBDF.book Seite 2 Montag, 17. März 2008 2:50 14Table of Contents GS_Nuendo_GBDF.book Seite 3 Montag, 17. März 2008 2:50 144 Table of Contents 6 Introduction 7 About the manuals and the help 7 About the program versions 7 Key command conventions 8 How you can reach us 9 System requirements and installation 10 About this chapter 10 Minimum requirements 11 Hardware installation 12 Installing Nuendo 13 Defragmenting the hard disk (Windows only) 13 Register your software 14 Setting up your system 15 Setting up audio 19 Setting up MIDI 21 Connecting a synchronizer 21 Setting up video 22 Optimizing audio performance 24 Tutorial 1: Recording audio 25 Creating a new project 26 Setting up the VST Connections 27 Level settings and recording 30 Playback 31 Recording modes with cycle off 31 Cycle recording 32 Stacked recording 34 Tutorial 2: Editing audio 35 Event operations 41 Event envelopes 41 Processing audio 43 Tutorial 3: Recording and editing MIDI 44 Introduction 44 Creating an Instrument Track 45 Browsing sounds 46 MIDI recording 47 MIDI playback 47 Recording modes with cycle off 48 Cycle recording 49 The Key Editor 51 The Controller lane 52 Tutorial 4: Working with loops 53 Loop Browser 53 Adding loops 54 Making copies 54 Insert into Project 55 Tutorial 5: External MIDI instruments 56 Introduction 56 Setting up MIDI devices 56 Setting up VST connections for external instruments 57 Monitoring external MIDI instruments 58 Recording MIDI and external instruments 59 Tutorial 6: Mixing and effects 60 Introduction 60 Setting levels 61 Setting pan 61 Mute and solo 62 Adding EQ 64 Audio effects 65 About automation 66 Exporting 69 Tutorial 7: Surround production 70 Surround busses 72 Setting up a surround mix 74 Recording in surround 74 Exporting a surround file 77 Tutorial 8: Editing audio II - tempo and groove 78 Background 78 Example 1: Drum loop, tempo known 79 Example 2: Drum loop, Auto Adjust 80 Example 3: Drum loop, Manual Adjust 82 Example 4: Working with selections 83 Tutorial 9: Media management 84 Background 84 MediaBay, Loop Browser and Sound Browser 86 Scanning with the browser 88 Searching for media 89 Auditioning media with the Scope 90 Tagging GS_Nuendo_GBDF.book Seite 4 Montag, 17. März 2008 2:50 145 Table of Contents 91 Working with video 92 Introduction 92 Virtual video playback 92 Video playback engines 92 Video file compatibility 93 Adding a video file to a project 94 Video output devices 94 Video playback speed 94 Editing video 95 Rendering audio into video files 95 Video tape recorders 95 Synchronization and Machine Control 96 Layback to tape 98 Tips 99 Audio editing to picture 100 Introduction 100 Video timeline and the grid 101 Inserting audio into the project 102 Event handles 102 Event envelopes 103 Range selection 104 Range editing 105 Edit Mode 105 Text editing 106 Operations 114 Index GS_Nuendo_GBDF.book Seite 5 Montag, 17. März 2008 2:50 141 Introduction GS_Nuendo_GBDF.book Seite 6 Montag, 17. März 2008 2:50 147 Introduction About the manuals and the help The Nuendo documentation is divided into several sec- tions, as listed below. Some of the documents are in Adobe Acrobat format (extension “.pdf”) – these can be accessed in the following ways:

• You can open the pdf documents from the Documentation submenu on the Help menu in the program.

• Under Windows you can also open these documents from the Nuendo Documentation subfolder on the Windows Start menu.

• Under Mac OS X the pdf documents are located in the folder “/Library/Documentation/Steinberg/Nuendo 4”. Ö To read the pdf documents, you need to have a suit- able pdf reader application installed on your computer. An installer for Adobe Reader is provided on the program DVD. The Getting Started book This is the book you are reading now. The Getting Started book covers the following areas:

• Computer requirements.

• Installation issues.

• Setting up your system for audio, MIDI and/or video work.

• Tutorials describing the most common procedures for record- ing, playing back, mixing and editing in Nuendo. In other words, this book does not go into detail on any Nuendo windows, functions or procedures. The Operation Manual The Operation Manual is the main Nuendo reference doc- umentation, with detailed descriptions of Nuendo opera- tions, parameters, functions and techniques. You should be familiar with the concepts and methods described in the Getting Started book before moving on to the Opera- tion Manual. MIDI Devices This pdf document contains descriptions of how to man- age MIDI Devices and device panels. Plug-in Reference This manual describes the features and parameters of the included VST plug-ins, real-time audio effects and the MIDI effects. Networking This pdf document describes how you can use Nuendo’s project sharing and networking features to collaborate with other users of Nuendo (version 2.0 or later) in a TCP/IP based peer-to-peer network. Remote Control Devices This pdf document lists the supported MIDI remote control devices and describes how to set them up and use them with Nuendo. Mackie Control This pdf document describes the supported features for the Mackie Control remote device. Menu Reference This pdf document provides a list of all menus and their options with a brief description, for quick reference. The dialog help To get information about the active dialog, click its Help button. About the program versions The documentation covers two different operating sys- tems or “platforms”; Windows and Mac OS X. Some features and settings are specific to one of the plat- forms, Windows or Mac OS X. This is clearly stated in the applicable cases. In other words: Ö If nothing else is said, all descriptions and procedures in the documentation are valid for both Windows and Mac OS X. The screenshots are taken from the Windows version. Key command conventions Many of the default key commands in Nuendo use modi- fier keys, some of which are different depending on the operating system. For example, the default key command for Undo is [Ctrl]+[Z] under Windows and [Com- mand]+[Z] under Mac OS X. GS_Nuendo_GBDF.book Seite 7 Montag, 17. März 2008 2:50 148 Introduction When key commands with modifier keys are described in this manual, they are shown with the Windows modifier key first, in the following way: [Win modifier key]/[Mac modifier key]+[key] For example, [Ctrl]/[Command]+[Z] means “press [Ctrl] un- der Windows or [Command] under Mac OS X, then press [Z]”. Similarly, [Alt]/[Option]+[X] means “press [Alt] under Windows or [Option] under Mac OS X, then press [X]”. Ö Please note that this manual often refers to “right- clicking”, e.g. to open context menus, etc. If you are using a Macintosh computer with a single-button mouse, hold down [Ctrl] and click. How you can reach us On the Help menu in Nuendo you will find items for getting additional information and help:

• On the “Steinberg on the Web” submenu, you can find links to various Steinberg web sites. Selecting one will au- tomatically launch your browser application and open the page. You can find support and compatibility information, answers to frequently asked questions, links for downloading new drivers, etc. This requires that you have a web browser application installed on your computer, and a working Internet connection. GS_Nuendo_GBDF.book Seite 8 Montag, 17. März 2008 2:50 142 System requirements and installation GS_Nuendo_GBDF.book Seite 9 Montag, 17. März 2008 2:50 1410 System requirements and installation About this chapter This chapter describes the requirements and installation procedures for the Windows version and the Mac version of Nuendo. Minimum requirements To use Nuendo, your computer must meet the following minimum requirements: Windows

• Windows XP (Home/Professional with SP 2), or Windows Vista (32-bit and 64-bit – see below)

• Windows DirectX compatible audio hardware; ASIO compatible audio hardware recommended for low latency performance.

• Display resolution of 1024x768 pixels

• Steinberg Key and USB component connector

• DVD ROM drive required for installation

• Internet connection required for license activation Macintosh

• Steinberg Key and USB component connector

• DVD ROM drive required for installation

• Internet connection required for license activation Ö If you want to install the 64-bit version of Nuendo, make sure you read the ReadMe document on this topic before proceeding. You will find this document, called “Windows_Vista_64bit_[lan- guage].rtf”, on the installation DVD, in the ReadMe Files folder. General notes on how to set up your system

• RAM – There is a direct relation between the amount of available RAM and the number of audio channels that you can have running. The amount of RAM specified above is the minimum requirement, but as a general rule “the more the better” applies.

• Hard disk size – The size of the hard disk determines how many minutes of audio you will be able to record. Recording one minute of stereo CD quality audio requires 10 MB of hard disk space. That is, eight stereo tracks in Nuendo use up at least 80 MB of disk space per recording minute.

• Hard disk speed – The speed of the hard drive also de- termines the number of audio tracks you can run. That is the quantity of information that the disk can read, usually expressed as “sustained transfer rate”. Again, “the more the better” applies.

• Wheel mouse – Although a regular mouse will work fine with Nuendo, we recommend that you use a wheel mouse. This will speed up value editing and scrolling considerably. MIDI requirements If you intend to use the MIDI features of Nuendo, you need the following:

• A MIDI interface to connect external MIDI equipment to your computer.

• Any audio equipment required to listen to the sound from your MIDI devices. Audio hardware Nuendo will run with audio hardware that meets the fol- lowing specifications:

• Support of at least the 44.1kHz sampling rate.

• Windows – The audio hardware must be supplied with a spe- cial ASIO driver, or a DirectX compatible driver, see below.

• Mac – The audio hardware must be supplied with Mac OS X- compatible drivers (CoreAudio or ASIO).

On the Steinberg web site, under “Support–DAW Components”, you can find detailed information on what to consider when setting up a computer system dedicated to audio work. GS_Nuendo_GBDF.book Seite 10 Montag, 17. März 2008 2:50 1411 System requirements and installation Using the built-in audio hardware of the Macintosh (Mac only) Although Nuendo is designed with multi-channel input and output in mind, it’s of course possible to use the pro- gram with “basic” stereo inputs and outputs. As of this writing, all current Macintosh models provide at least built- in 16 bit stereo audio hardware. For detailed information, refer to the documentation describing your computer. Depending on your preferences and requirements, using the built-in audio hardware may be sufficient for use with Nuendo. It is always available for selection in Nuendo – you don’t need to install any additional drivers. About drivers A driver is a piece of software that allows a program to communicate with a certain piece of hardware. In this case, the driver allows Nuendo to use the audio hardware. For audio hardware, there are two different cases, requir- ing different driver configurations: If the audio hardware has a specific ASIO driver Professional audio cards often come with an ASIO driver written especially for the card. This allows for communica- tion directly between Nuendo and the audio card. As a re- sult, audio cards with specific ASIO drivers can provide lower latency (input-output delay), which is crucial when monitoring audio via Nuendo or using VST Instruments. The ASIO driver may also provide special support for mul- tiple inputs and outputs, routing, synchronization, etc. Audio card-specific ASIO drivers are provided by the card manufacturers. Make sure to check the manufacturer’s web site for the latest driver versions. If the audio card communicates via DirectX (Windows only) DirectX is a Microsoft “package” for handling various types of multimedia data under Windows. Nuendo sup- ports DirectX, or to be more precise, DirectSound, which is a part of DirectX used for playing back and recording audio. This requires two types of drivers:

• A DirectX driver for the audio card, allowing it to communicate with DirectX. If the audio card supports DirectX, this driver should be supplied by the audio card manufacturer. If it isn’t installed with the audio card, please check the manufacturer’s web site for more information.

• The ASIO DirectX Full Duplex driver, allowing Nuendo to com- municate with DirectX. This driver is included with Nuendo, and does not require any special installation. Hardware installation The Steinberg Key Included with the Nuendo package, you will find the Stein- berg Key (also referred to as a “dongle” or “eLicenser”), a hardware copy protection device that is part of the Nu- endo copy protection scheme. Nuendo will not run if there is no Steinberg Key. The Steinberg Key The Steinberg Key is, in fact, a little computer on which your Steinberg software licenses are stored. All hardware- protected Steinberg products use the same type of key, and you can store more than one license on one key. Also, licenses can (within certain limits) be transferred between keys – which is helpful, e.g. if you want to sell a piece of software.

Some Macintosh models have audio outputs but no inputs. This means that you can only play back audio – recording is not possible without additional audio hardware.

If your audio hardware comes with a specific ASIO driver we strongly recommend that you use this.

Please read the following section before installing the Nuendo software. GS_Nuendo_GBDF.book Seite 11 Montag, 17. März 2008 2:50 1412 System requirements and installation The Syncrosoft License Control Center (which can be found in the Start/Programs menu under Windows or the Applications folder on a Mac) is the place where you can check the licenses installed on your Steinberg Key.

• If you are using other copy-protected Steinberg prod- ucts, you may want to transfer all licenses for your applica- tions to only one Steinberg Key, thus using only one USB port of your computer. To transfer licenses between keys, launch the License Transfer wizard of the Syncrosoft Li- cense Control Center and follow the instructions.

• Steinberg software products always come with a license activation code, but not always with a Steinberg Key – if you want to activate a license for such a Steinberg software (e.g. a VSTi) on the Steinberg Key you received with Nu- endo, launch the License Download wizard of the Syn- crosoft License Control Center and follow the instructions. More information on the transfer or activation of licenses can be found in the help for the Syncrosoft License Con- trol Center. Installing the audio hardware and its driver

1. Install the audio card and related equipment in the

computer, as described in the card’s documentation.

2. Install the driver for the card.

Depending on the operating system of your computer, there are different types of drivers that could apply: card-specific ASIO drivers, DirectX drivers (Windows) or Mac OS X (Mac) drivers: Specific ASIO driver If your audio card has a specific ASIO driver, it may be in- cluded with the audio card, but you should always make sure to check the audio card manufacturer’s web site for the most recent drivers. For details on how to install the driver, refer to the manufacturer’s instructions. DirectX driver (Windows only) If your audio card is DirectX compatible, its DirectX drivers will most likely be installed when you install the card. If you have downloaded special DirectX drivers for the audio card, you should follow the manufacturer’s installation in- structions. Mac OS X drivers (Mac only) If you are using a Macintosh computer, make sure you are using the latest Mac OS X drivers for your audio hard- ware. Follow the manufacturer’s instructions to install the driver. Testing the card To make sure the audio card will work as expected, perform the following two tests:

• Use any software included with the audio card to make sure you can record and play back audio without problems.

• If the card is accessed via a standard operating system driver, try playing back audio using the computer’s standard audio application (e.g. Windows Media Player or Apple iTunes). Installing a MIDI interface/synthesizer card Installation instructions for a MIDI interface should be in- cluded with the product. However, here’s an outline of the necessary steps:

1. Install the interface (or MIDI synthesizer card) inside

your computer or connect it to a “port” (connector) on the computer. Which is right for you depends on which type of interface you have.

2. If the interface has a power supply and/or a power

3. Install the driver for the interface, as described in the

documentation that comes with the interface. You should also make sure to check the manufacturer’s web site for the latest driver updates. Installing Nuendo The installation procedure puts all files in the right places, automatically. Windows

1. Double-click the file called “Nuendo4.msi”.

2. Follow the instructions on screen.

1. Double-click the file called “Nuendo4.mpkg”.

2. Follow the instructions on screen.

GS_Nuendo_GBDF.book Seite 12 Montag, 17. März 2008 2:50 1413 System requirements and installation About the tutorials The program DVD also contains several tutorial project files and videos. These are not installed during the installa- tion, but can be added manually from the DVD. The tutorial chapters in this manual all refer to these tuto- rial projects. So, to be able to follow the instructions in this manual, you have to drag the files to your computer. You find the Tutorial Projects in the folder “Additional Content”. About the Nuendo Expansion Kit The Nuendo Expansion Kit adds a number of music com- position functions from Steinberg’s Cubase (the “Cubase Music Tools”) to the standard Nuendo application. The Nuendo Expansion Kit (NEK) is a separate product and can be purchased through your Steinberg dealer. Whenever procedures in this manual use functions avail- able only when the NEK is installed, this is indicated in the text by “Nuendo Expansion Kit only”. Defragmenting the hard disk (Windows only) If you plan to record audio on a hard disk where you have already stored other files, now is the time to defragment it. Defragmentation reorganizes the physical allocation of space on the hard disk in order to optimize its perfor- mance. It is done with a special defragmentation program. Register your software We encourage you to register your software! By doing so you are entitled to technical support and kept aware of up- dates and other news regarding Nuendo. There are two ways to register:

• In Nuendo, open the Help menu and select the Regis- tration option. This option is an Internet link that will open the Registration page of the Steinberg web site. To register, simply follow the instructions on screen. When you launch Nuendo, you will also be prompted to launch the reg- istration process.

• Included on the Nuendo installation DVD, you can find a registration form in pdf format. To register, print out the form, enter all required information and send it to Steinberg.

It is crucial to the audio recording performance that your hard disk is optimized (defragmented). You should make sure to defragment regularly. GS_Nuendo_GBDF.book Seite 13 Montag, 17. März 2008 2:50 143 Setting up your system GS_Nuendo_GBDF.book Seite 14 Montag, 17. März 2008 2:50 1415 Setting up your system Setting up audio Connecting audio Exactly how to set up your system depends on many dif- ferent factors, e.g. the kind of project you wish to create, the external equipment you want to use, the computer hardware available to you, etc. Therefore, the following sections can only serve as examples. How you connect your equipment, i.e. whether you use digital or analog connections, also depends on your indi- vidual setup. Stereo input and output – the simplest connection If you only use a stereo input and output from Nuendo, you can connect your audio hardware, e.g. the inputs of your audio card or your audio interface, directly to the input source and the outputs to a power amplifier and speaker. A simple stereo audio setup. This is probably the simplest of all setups – once you have set up the internal input and output busses, you can con- nect your audio source, e.g. a microphone, to your audio interface and start recording. Multi-channel input and output Most likely however, you will have other audio equipment that you want to integrate with Nuendo, using several in- put and output channels. Depending on the equipment available to you, there are two ways to go: either mixing using an external mixing desk, or mixing using the mixer in- side Nuendo.

• External mixing means having a hardware mixing device with a group or bus system that can be used for feeding inputs on your audio hardware. In the example below, four busses are used for feeding signals to the au- dio hardware’s inputs. The four outputs are connected back to the mixer for monitoring and playback. Remaining mixer inputs can be used for connecting audio sources like microphones, instruments, etc. A multi-channel audio setup using an external mixer. Ö When connecting an input source (like a mixer) to the audio hardware, you should use output busses, sends or similar that are separate from the mixer’s master output to avoid recording what you are playing back. You may also have mixing hardware that can be connected via FireWire.

• When using the Mixer inside Nuendo, you can use the inputs on your audio hardware to connect microphones and/or external devices. Use the outputs to connect your monitoring equipment. Nuendo only: You can create very complex setups using external instru- ments and external effects, and integrate Nuendo seamlessly with all your external equipment using the Control Room feature (see the chap- ters “VST Connections: setting up input and output busses” and “The Control Room” in the Operation Manual for details). Mixing inside Nuendo

Make sure that all equipment is turned off before making any connections! GS_Nuendo_GBDF.book Seite 15 Montag, 17. März 2008 2:50 1416 Setting up your system Connecting for surround sound If you plan to mix for surround sound, you can connect the audio outputs to a multi-channel power amplifier, driving a set of surround channels. A surround sound playback configuration. Nuendo supports a number of surround formats. The ex- ample connection above will work for mixing both LRCS (ProLogic for example) and 5.1, in which case the two sur- round speakers will be playing the same material (from the single surround channel). The difference between the two formats is the LFE channel, which is not used with LRCS. Recording from a CD player Most computers come with a CD-ROM drive that can also be used as a regular CD player. In some cases the CD player is internally connected to the audio hardware so that you can record the output of the CD player directly into Nuendo (consult the audio hardware documentation if you are uncertain).

• All routing and level adjustments for recording from a CD (if available) are done in the audio hardware setup application (see “Making settings for the audio hardware” on page 16).

• You can also grab audio tracks directly from a CD in Nuendo (see the chapter “File Handling” in the Operation Manual). Word Clock connections If you are using a digital audio connection, you may also need a word clock connection between the audio hard- ware and external devices. Please refer to the documenta- tion that came with the audio hardware for details. About recording levels and inputs When you connect your equipment, you should make sure that the impedance and levels of the audio sources and in- puts are matched. Typically, different inputs may be de- signed for use with microphones, consumer line level (-10dBV) or professional line level (+4dBV), or you may be able to adjust input characteristics on the audio interface or in its control panel. Please check the audio hardware docu- mentation for details. Using the correct types of input is important to avoid dis- tortion or noisy recordings. Making settings for the audio hardware Most audio cards come with one or more small applica- tions that allow you to configure the inputs of the hard- ware to your liking. This includes:

• Selecting which inputs/outputs are active.

• Setting up word clock synchronization (if available).

• Turning monitoring via the hardware on/off (see “About moni- toring” on page 19).

• Setting levels for each input. This is very important!

• Setting levels for the outputs, so that they match the equip- ment you use for monitoring.

• Selecting digital input and output formats.

• Making settings for the audio buffers.

It is very important that word clock synchronization is done correctly or there might be clicks and crackles in recordings that you make!

Nuendo does not provide any input level adjustments for the signals coming in to your audio hardware, since these are handled differently for each card. Ad- justing input levels is either done in a special applica- tion included with the hardware or from its control panel (see below). GS_Nuendo_GBDF.book Seite 16 Montag, 17. März 2008 2:50 1417 Setting up your system In many cases all available settings for the audio hardware are gathered in a control panel, which can be opened from within Nuendo as described below (or opened separately, when Nuendo isn’t running). In some cases, there may be several different applications and panels – please refer to the audio hardware documentation for details. Selecting a driver and making audio settings in Nuendo The first thing you need to do is select the correct driver in Nuendo to make sure that the program can communicate with the audio hardware:

1. Launch Nuendo, select Device Setup from the Devices

menu and click on VST Audio System in the Devices list to the left. The VST Audio System page in the Device Setup dialog.

2. Select your audio hardware driver from the ASIO

Driver menu. There may be several options here that all refer to the same audio hard- ware. When you have selected a driver, it is added to the Devices list.

3. Select the driver in the Devices list to open the Driver

settings for your audio hardware.

4. Bring up the control panel for the audio hardware and

adjust the settings as recommended by the audio hard- ware manufacturer.

• Under Windows, you open the control panel by clicking the Control Panel button. The control panel that appears when you click this button is provided by the audio hardware manufacturer and not Nuendo (unless you use Di- rectX, see below). Hence it will be different for each audio card brand and model. The Control panel for the ASIO DirectX driver is an exception, as it is provided by Steinberg, and is described in the dialog help, opened by clicking the Help button in the dialog. See also the notes below.

• Under Mac OS X, you will find the control panel for your audio hardware in the System Preferences (“Other” sec- tion), opened from the Apple menu or from the Dock. If you are using the built-in audio hardware of the Macintosh, you use the “Sound” control panel in the System Preferences to set levels, balance, etc. If you are using ASIO audio hardware, you can click the Control Panel but- ton to bring up its panel.

5. If you plan to use several audio applications simulta-

neously, you may want to activate the option “Release Driver when Application is in Background” on the VST Audio System page. This will allow another application to play back via your audio hardware even though Nuendo is running. The application that is currently active (i.e. the “top window” on the desk- top) will get access to the audio hardware. Make sure that any other au- dio application accessing the audio hardware is also set to release the ASIO (or Mac OS X) driver so Nuendo can use it when it becomes the active application again.

6. If your audio hardware and its driver support ASIO Di-

rect Monitoring, you may want to activate the Direct Moni- toring checkbox on the page for the driver. Read more about monitoring later in this chapter and in the chapter “Re- cording” in the Operation Manual.

7. Click Apply and then OK to close the dialog.

Under Windows, we strongly recommend that you access your hardware via an ASIO driver written specifically for the hardware, if available. If no ASIO driver is installed, we recommend that you check with your audio hardware manufacturer if they have an ASIO driver available, for example for download via the Internet. GS_Nuendo_GBDF.book Seite 17 Montag, 17. März 2008 2:50 1418 Setting up your system If you are using audio hardware with a DirectX driver (Windows only) Nuendo comes with a driver called ASIO DirectX Full Du- plex, available for selection on the ASIO Driver pop-up menu (VST Audio System page). Ö To be able to take full advantage of DirectX Full Du- plex, the audio hardware must support WDM (Windows Driver Model) in combination with DirectX version 8.1 or higher. In all other cases, the audio inputs will be emulated by DirectX (see the dialog help for the ASIO DirectX Full Duplex Setup dialog for details about how this is reported). Ö During the installation of Nuendo, the latest DirectX will be installed on your computer. When the ASIO DirectX Full Duplex driver is selected in the Device Setup dialog, you can open the ASIO Control Panel and adjust the following settings (for more details, click the Help button in the control panel):

• Direct Sound Output and Input Ports In the list to the left in the window, all available Direct Sound output and input ports are listed. In many cases, there will be only one port in each list. To activate or deactivate a port in the list, click the checkbox in the left column. If the checkbox is ticked, the port is activated.

• You can edit the Buffer Size and Offset settings in this list if necessary, by double-clicking on the value and typ- ing in a new value. In most cases, the default settings will work fine. Audio buffers are used when audio data is transferred between Nuendo and the audio card. While larger buffers ensure that playback will occur without glitches, the latency (the time between the moment Nuendo sends out the data and when it actually reaches the output) will be higher.

• Offset If a constant offset is audible during playback of Audio and MIDI record- ings, you can adjust the output or input latency time using this value. Setting up the input and output ports Once you have selected the driver and made the settings as described above, you need to specify which inputs and outputs should be used and name these:

1. In the Device Setup dialog, select your driver in the De-

vices list on the left to display the Driver settings for your audio hardware. All input and output ports on the audio hardware are listed.

2. To hide a port, click in the “Visible” column for the port

(deselecting the checkbox). Ports that aren’t visible cannot be selected in the VST Connections win- dow where you set up your input and output busses – see “Setting up the VST Connections” on page 26 and the chapter “VST Connections: setting up input and output busses” in the Operation Manual.

3. To rename a port, click on its name in the “Show as”

column and type in a new name. Ö It is a good idea to give your ports names that are re- lated to the channel configuration (rather than to the ac- tual hardware model)! For example, if you are using a 5.1 surround audio setup, you could name the six ports Left, Right, Center, Lfe, Left Surround and Right Surround. This makes it easier to transfer your projects between different comput- ers, e.g. in different studios – if the same port names are used on both computers, Nuendo will automatically handle the bus connections prop- erly when you open the project on the other computer.

4. Click OK to close the Device Setup dialog and apply

If your Windows audio hardware does not have a specific ASIO driver, a DirectX driver is the next best option.

If you attempt to hide a port that is already used by a bus you will be asked whether this is really what you want – note that this will disable the port! GS_Nuendo_GBDF.book Seite 18 Montag, 17. März 2008 2:50 1419 Setting up your system About monitoring In Nuendo, monitoring means listening to the input signal while preparing to record or while recording. There are three ways to monitor: External monitoring External monitoring (listening to the input signal before it goes into Nuendo) requires an external mixer for mixing the audio playback with the input signal. This can be a classic mixing desk or a mixer application for your audio hardware, if this has a mode in which the input audio is sent back out again (usually called “Thru”, “Direct Thru” or similar). Via Nuendo In this case, the audio passes from the input into Nuendo, possibly through Nuendo effects and EQ and then back to the output. You control monitoring via settings in Nuendo. This allows you to control the monitoring level from Nu- endo and add effects to the monitored signal only. ASIO Direct Monitoring If your audio hardware is ASIO 2.0 compatible, it may sup- port ASIO Direct Monitoring (this feature may also be avail- able for audio hardware with Mac OS X drivers). In this mode, the actual monitoring is done in the audio hardware, by sending the input signal back out again. However, moni- toring is controlled from Nuendo. This means that the audio hardware’s direct monitoring feature can be turned on or off automatically by Nuendo. Monitoring is described in detail in the chapter “Record- ing” in the Operation Manual. However, when setting up, there’s one thing to note:

• If you want to use the external monitoring via your audio hardware, make sure the corresponding functions are ac- tivated in the card’s mixer application. Ö If you are using RME Audio Hammerfall DSP audio hardware, make sure that the pan law is set to -3dB in the card’s preferences. Setting up MIDI This section describes how to connect and set up MIDI equipment. If you have no MIDI equipment, you can skip this section. Note that this is only an example – you might need or want to hook things up differently! Connecting the MIDI equipment In this example we assume that you have a MIDI keyboard and an external MIDI sound module. The keyboard is used both for feeding the computer with MIDI messages for re- cording and for playing back MIDI tracks. The sound mod- ule is used for playback only. Using Nuendo’s MIDI Thru feature (described later) you will be able to hear the cor- rect sound from the sound module while playing the key- board or recording. A typical MIDI Setup.

Make sure that all equipment is turned off before making any connections! GS_Nuendo_GBDF.book Seite 19 Montag, 17. März 2008 2:50 1420 Setting up your system You might want to use even more instruments for playback. If you do, simply connect MIDI Thru on the sound module to MIDI In on the next instrument, and so on. In this hook-up, you will always play the first keyboard when recording. But you can still use all your devices for providing sounds on playback. Setting MIDI Thru and Local On/Off In the “MIDI” section in the Preferences dialog (located on the File menu under Windows and on the Nuendo menu under Mac OS X), you will find a setting called “MIDI Thru Active”. This is related to a setting in your instrument called “Local On/Off” or “Local Control On/Off”.

• If you use a MIDI keyboard instrument, as described earlier in this chapter, MIDI Thru should be activated and that instru- ment should be set to Local Off (sometimes called Local Con- trol Off – see the instrument’s operation manual for details). The MIDI signal from the keyboard will be recorded in Nuendo and at the same time be re-routed back to the instrument so that you hear what you are playing, without the keyboard “trig- gering” its own sounds.

• If you use a separate MIDI keyboard – one that does not pro- duce any sounds itself – MIDI Thru in Nuendo should also be activated, but you don’t need to look for any Local On/Off set- ting in your instruments.

• The only case where MIDI Thru should be deactivated is if you use Nuendo with only one keyboard instrument and that in- strument cannot be set to Local Off mode.

• Note that MIDI Thru will be active only for those MIDI tracks that are record enabled and/or have the Monitor button acti- vated. See the chapter “Recording” in the Operation Manual for more information.

If you plan to use more than three sound sources, we recommend that you either use an interface with more than one output, or a separate MIDI Thru box instead of the Thru jacks on each unit. When “MIDI Thru” is active in Nuendo, MIDI data re- ceived is immediately “echoed” back out. When you press a key, it is sent out via MIDI to Nuendo. MIDI data coming in to the instrument is played by the “Synth” inside it. When Local Control is turned on in the instrument, the keys you press will be played by the “Synth” inside the Instrument. When Local Control is turned off, this connection is cut off. MIDI data coming in to the instrument is played by the “Synth” inside it. “Synth” GS_Nuendo_GBDF.book Seite 20 Montag, 17. März 2008 2:50 1421 Setting up your system Setting up MIDI ports in Nuendo The Device Setup dialog lets you set up your MIDI system in the following ways: Ö Note: When you change MIDI port settings in the De- vice Setup dialog, these are automatically applied in the program. Showing or hiding MIDI Ports The MIDI ports are listed in the Device Setup dialog on the MIDI Port Setup page. By clicking in the “Visible” column for a MIDI input or output, you can specify whether or not it should be listed on the MIDI pop-up menus in the program. If you are trying to hide a MIDI port which is already se- lected for a track or a MIDI device, a warning message will appear, allowing you to hide – and disconnect – the port or to cancel the operation and keep the MIDI port visible. Setting up the “All MIDI Inputs” option When you record MIDI in Nuendo, you can specify which MIDI input each recording MIDI track should use. How- ever, you can also select the “In All Inputs” option for an input port, which causes any MIDI data from any MIDI in- put to be recorded. The “In All Inputs” option on the MIDI Port Setup page al- lows you to specify which inputs should be included when you select All MIDI Inputs for a MIDI track. This can be es- pecially useful if your system provides several instances of the same physical MIDI input – by deactivating the dupli- cates you make sure only the desired MIDI data is recorded. Ö If you have a MIDI remote control unit connected, you should also make sure to deactivate the “In All Inputs” op- tion for that MIDI input. This will avoid accidentally recording the data from the remote control when the “All MIDI Inputs” option is selected as input for a MIDI track. Connecting a synchronizer When using Nuendo with external tape transports, you will most likely need to add a synchronizer to your system. All connections and setup procedures for synchronization are described in the chapter “Synchronization” in the Opera- tion Manual. Setting up video Nuendo plays back video films in AVI, QuickTime or MPEG formats. Under Windows, video playback can be done using the playback engines DirectX, DirectShow or QuickTime. Under Mac OS X, QuickTime is used as play- back engine. There are several ways to play back video:

• Without any special hardware. While this will be fine in many situations it does put a limit on the size of the internal video window as well as the quality of the image.

• Using FireWire (Mac OS X). Using a FireWire port, you can play back video on an external monitor us- ing a DV-to-analog converter or a DV camera (see also the Video chap- ter in the Operation Manual). This is valid for DV video and QuickTime is used for playback.

• Using Graphics cards (Windows). Multi-head graphics cards which support overlay functionality can be used to display the video picture on an external monitor. As of this writ- ing, the following manufacturers have working solutions available: nVIDIA and Matrox.

• Using Video cards. Video cards can also be used to display the video on an external monitor. As of this writing, e.g. Decklink (Blackmagic) can be used. If you plan to use special video hardware, install it and set it up as recommended by the manufacturer. Before you use the video hardware with Nuendo, we rec- ommend that you test the hardware installation with the utility applications that came with the hardware and/or the Windows Media Player or QuickTime Player (Mac OS X) applications.

Make sure that all equipment is turned off before making any connections!

Make sure that all equipment is turned off before making any connections! GS_Nuendo_GBDF.book Seite 21 Montag, 17. März 2008 2:50 1422 Setting up your system Optimizing audio performance This section gives you some hints and tips on how to get the most out of your Nuendo system, performance-wise. Some of this text refers to hardware properties and can be used as a guide when upgrading your system. This text is very brief. Look for details and current information on the Nuendo web site (see “How you can reach us” on page 8)! Two aspects of performance There are two distinct aspects of performance in respect to Nuendo: Tracks and effects Simply put: the faster your computer, the more tracks, ef- fects and EQ you will be able to play. Exactly what consti- tutes a “fast computer” is almost a science in itself, but some hints are given below. Short response times (latency) Another aspect of performance is response time. The term “latency” refers to the “buffering”, i.e. the temporary stor- ing, of small chunks of audio data during various steps of the recording and playback process on a computer. The more and larger those chunks, the higher the latency. High latency is most irritating when playing VST Instru- ments and when monitoring through the computer, i.e. when listening to a live audio source via the Nuendo mixer and effects. However, very long latency times (several hundred milliseconds) can also affect other processes like mixing, e.g. when the effect of a fader movement is heard only after a noticeable delay. While Direct Monitoring and other techniques reduce the problems associated with very long latency times, a sys- tem that responds fast will always be more convenient to work with.

• Depending on your audio hardware, it may be possible to “trim” your latency times, usually by lowering the size and the number of buffers. For details, refer to the audio hardware documentation, or, if you are us- ing a DirectX driver under Windows, the dialog help. System factors that affect performance CPU and processor cache It goes without saying that the faster the computer pro- cessor, the better. But there are a number of factors that affect the apparent speed of a computer: the bus speed and type (PCI is strongly recommended), the processor cache size and of course, the processor type and brand. Nuendo relies heavily on floating point calculations. When shopping for a processor, please make sure you get one that is powerful in calculating floating point arithmetics. Note also that Nuendo features full support for multi-pro- cessor systems. So, if you own a computer system with more than one processor, Nuendo can take advantage of the total capacity and evenly distribute the processing load to all available processors. See “The advanced options” on page 23. Hard disk and controller The number of hard disk tracks you can record and play back at the same time also depends on the speed of your hard disk and hard disk controller. If you use E-IDE disks and controllers, make sure that the transfer mode is DMA Busmaster. Under Windows, you can check the current mode by launching the Windows Device Manager and looking for properties of the IDE ATA/ATAPI Controller’s primary and secondary channel. DMA transfer mode is en- abled by default, but may be turned off by the system should hardware problems occur. Audio hardware and driver The hardware and its driver can have some effect on re- gular performance. A badly written driver can reduce the performance of your computer. But where the hardware driver design makes the most difference is with latency. This is especially true when using Nuendo for Windows:

• Under Windows, ASIO drivers written specifically for the hardware are more efficient than a DirectX driver and produce shorter latency times.

• Under Mac OS X, audio hardware with properly written Mac OS X (Core Audio) drivers can be very efficient and produce very low latency times. However, there are additional features currently only available with ASIO drivers, such as the ASIO Positioning Protocol. Making settings that affect performance Choosing a driver for your audio hardware As described in the section “Selecting a driver and making audio settings in Nuendo” on page 17, it is recommended to install and use a standard ASIO driver if available for your specific hardware. Check the manufacturer’s web site for the latest drivers, etc. Making audio buffer settings Audio buffers affect how audio is sent to and from the audio hardware. The size of the audio buffers affects both the la- tency and the audio performance. Generally, the smaller the buffer size, the lower the latency. On the other hand, work- ing with small buffers can be demanding for the computer. If the audio buffers are too small, you may get clicks, pops or other audio playback problems.

• Under Mac OS X, you can adjust the size of the buffers on the VST Audio System page in the Device Setup dialog. You may also find buffer settings in the control panel for the audio hard- ware.

• Under Windows, you adjust the buffer size settings in the control panel for the audio hardware (opened by click- ing the Control Panel button on the driver page in the De- vice Setup dialog). The advanced options On the VST Audio System page you will find the “Advanced options” section. Here you find advanced settings for the VST Engine, including a Multi Processing option. When this is activated (default setting if you have a hyper-threading or multiple-CPU system) and there is more than one CPU in your system, the processing load is distributed evenly to all available CPUs, allowing Nuendo to make full use of the combined power of the multiple processors. See the dialog help for details. Activating the “Lower Latency” option will basically disable the CPU overload protection, but allow for lower latencies. See the dialog help for details. Optimizing processor scheduling (Windows only) To get the lowest possible latencies when using ASIO un- der Windows XP (on a single-CPU system), the “system performance” has to be optimized for background tasks:

1. Open the Windows Control Panel from the Start menu

in the Performance section. The Performance Options dialog appears.

3. Select the Advanced tab.

4. In the Processor Scheduling section, select “Adjust

for best performance of: Background services”.

5. Click OK to close the dialogs.

GS_Nuendo_GBDF.book Seite 23 Montag, 17. März 2008 2:50 144 Tutorial 1: Recording audio GS_Nuendo_GBDF.book Seite 24 Montag, 17. März 2008 2:50 1425 Tutorial 1: Recording audio Creating a new project In this section we are going to explain how to create a new project, save a project and open a saved project. When you first open Nuendo an empty screen appears before you. You need to either create a new project or open an existing one. To Create a New Project:

1. Let’s create a new project by selecting “New Project”

from the “File” Menu.

2. The Templates dialog box will open up.

Templates are discussed in the “File Handling” section of the Operation Manual.

This will create a new project with nothing in it.

5. Nuendo now wants to create a folder on the hard drive

so that your Nuendo project file and all of its related files are stored in one safe place. It is important that every project gets stored in its own folder. Having many different projects stored in the same folder only leads to confusion later on.

6. Navigate to where you would like this project to be

created. NOTE: You are not saving the project at this point! You are creating a folder on the hard drive that your project will get saved into later. This will be explained very shortly.

7. Click “Create” on the PC or “New Folder” on the Mac

to create a new folder for your project.

8. Give your new folder a name.

If your are going to name your project “My First Project” then you could call this folder “My First Project” or “First Project”. What’s important here is that you are creating a folder on the hard drive to store your project into it. This folder should have a unique name that is different than any other Nuendo project you have created before.

9. Click “OK” on the PC or “Create” on the Mac.

Your project folder is now created on the hard drive!

10. Now click “OK” on the PC or “Choose” on the Mac.

11. You should be looking at your very first project in Nu-

endo now, Congratulations! If you look at the top of the window in Nuendo (called the Project window) you’ll see the name of this project is “Untitled1”. Proceed further to learn how to save your first project.

The difference between Save and Save As are discussed in the chapter “File Handling” in the Operation Manual.

2. You will notice that Nuendo is in the “My First Project”

folder that you created earlier. This is where you want to save your project. Type in a name for your Project – you can use “My First Nuendo Project” for example.

3. Click “Save” – and that’s it!

1. Make sure the Project window is selected.

The Project window is the main window that you work in. See the chap- ter “The Project window” in the Operation Manual.

2. Select “Close” from the “File” Menu.

If you have made any changes to the project since you last saved it, you will be prompted to “Save”, “Don’t Save” or “Cancel”. Click “Save” if you want your changes saved. To open a project Now that we have saved and closed your project, let’s show you how to open it. Open a project using the “Open” command

1. Select “Open” from the “File” Menu.

Here you can navigate to the folder that has the project you wish to open.

2. Once you have found the project click “Open” and the

project will load. Open a project using the “Recent Projects” submenu Nuendo remembers recently open projects and lists them in the “Recent Projects” submenu under the “File” menu.

1. Select “Recent Projects” from the “File” Menu.

2. Choose the project you wish to open by clicking once

on it. Setting up the VST Connections The VST Connections window allows you to set up the in- put and output signals of Nuendo to your audio card. Nu- endo calls these “busses”. This section will show you how to set the busses up so that you can get playback and re- cording working. Make sure you read the chapters “System requirements and installation” on page 9 and “Setting up your system” on page 14, so that your audio hardware is properly setup before proceeding. Ö Note that the Tutorial projects are not installed by de- fault during the installation of Nuendo. You will find the Tu- torial Projects on the program DVD, in the folder “Additional Content”. Adding outputs

1. Open the “Devices” menu and choose “VST Connec-

tions”. The default key command for this is [F4].

• You’ll see several tabs at the top of the window. We’re only going to cover Input and Output right now. See the chapter “VST Connections” in the Operation Manual for more details.

2. Let’s choose “Output” first. We want to start from

scratch and remove anything that is currently there, just in case it’s set up incorrectly. If you see anything in the “Bus Name” column, right-click with the mouse and choose “Remove Bus”.

configuration and “1” for count and click OK. This has now added a new stereo bus (Left and Right) allowing us to have audio in Nuendo route to our audio hardware.

4. Since we mainly listen to our music as a stereo mix, all

we need is a stereo output. We can listen to our music with more than 2 channels. If we for example had a surround sound setup.

5. Depending on your audio hardware, your outputs

should be setup now. You can however select the outputs of your choice from the “Device Port” pull down menu. Normally you’ll want to choose “Out 1” and “Out 2” or “Left 1” and “Right 2” as these are the main stereo outputs of your audio card. More sophisti- cated setups may require you to choose different outputs and even add more busses. Adding Inputs Now let’s open the “Input” tab and set up the inputs we are going to use for recording into Nuendo.

1. Do the same as mentioned above for the outputs.

Right-click and select “Remove Bus”.

2. Click the “Add Bus” button. Choose “Stereo” for con-

figuration and “1” for count and click “OK”. This has now added a new stereo bus (Left and Right) allowing us to have audio from our audio card’s input route to Nuendo for recording.

• Having a stereo input is useful for recording audio with two channels. An example of this is recording a keyboard with a left and right audio channel. If we wanted to record in mono or with one channel we can make separate bus- ses. Let’s do this now.

1. Click the “Add Bus” button. Choose “Mono” for con-

figuration and “2” for count and click “OK”. This has now added two new mono busses allowing us to have audio from our audio card’s input route to Nuendo for recording.

2. Next, click in the “Device Port” column to select the

audio inputs of your audio card for the stereo and mono inputs. In our case we have the MI4 interface so we are selecting “MI4 Channel A” and “MI4 Channel B” for our inputs. That’s it! You should now be ready to record audio in Nu- endo and then play it back. Level settings and recording For this section, we are going to record a bass guitar in mono from the input “Mono In”. Make sure you have your audio card set up and you have read through the section “Setting up the VST Connections” on page 26. Adding a mono track

1. Now let’s add an audio track to record to. Open the

Project menu and choose “Audio” from the “Add Track” submenu.

2. Choose “Mono” for Configuration and “1” for Count.

Click “OK”. This adds a mono audio track to our Project window.

3. Click on the new track you’ve created and make sure

the Inspector is shown. The Inspector allows us to see and manipulate a lot of information for the selected track.

4. Make sure that “Mono In” is selected for the audio

track’s input and that “Stereo Out” is selected for the au- dio tracks output. You may have different inputs and outputs based on your audio hardware. See the chapter “VST Connections” in the Operation Manual for more de- tailed information. By setting “Mono In”, we will be able to record the audio from the left input of our audio card into a track in Nuendo. Setting the out- put to “Stereo Out” allows us to hear what we are recording. Turning on the metronome click We’ll want to have a click or metronome play in the back- ground as we record the bass guitar so that what we record aligns with the bars and beats in Nuendo.

2. If you would like a two bar count in before you record,

also activate the “Precount/Click” button.

3. We now need to set the speed or the tempo of our

project. This will directly affect how fast the click plays. You can set the tempo just below the click. In this picture, we have a setting of 125, which means 125bpm (beats per minute). Setting levels We have a bass guitar playing through an amplifier with a microphone in front of the amplifier’s speaker. This micro- phone is plugged directly into the Steinberg MI|4 micro- phone input. We have set the level on the MI|4 so that we have enough volume without clipping.

1. Clicking the Monitor button will allow us to hear the

bass guitar. You should see and hear the audio coming in to the right of the track. The Inspector Click to open the Inspector Audio coming into this track GS_Nuendo_GBDF.book Seite 28 Montag, 17. März 2008 2:50 1429 Tutorial 1: Recording audio

2. Now click the “Record Enable” button on the track.

Setting the track to Record Enable lets Nuendo know that you want to record on this track and no other one. You can have many tracks Record Enabled at a time.

3. In the Inspector, open the “Channel” tab.

This will display the channel fader for the selected track.

• Do the best you can to send the maximum amount of volume to the audio inputs of your audio card before you hear any distortion. Most audio cards show some kind of level or volume indication. If yours doesn’t, don’t worry, we can change the amount here.

4. Move the fader up or down so that the volume is loud

enough without going into the red on the channel meter. If you go into the red you may cause clipping or distortion. You will see a line near the top of the channel meter – make sure the level does not go over this line!

• Once the level is set, you are ready to record! Recording bass guitar

1. Position the cursor at the beginning of the project.

This will make sure we start recording on bar 1.

2. Click the Record button to record the bass guitar.

Since the “Precount/Click” button is activated, we’ll hear two bars of click before recording begins.

3. Click “Stop” when you are finished.

4. Turn off the Monitor and Record Enable buttons on the

track so that we don’t hear the input or record on the track any more. Congratulations! You have just recorded your first piece of audio in Nuendo. Move ahead to the next section to learn how to play back audio. Click here to display the channel fader. Do not allow the audio level to go past this line! This is the safe area for recording GS_Nuendo_GBDF.book Seite 29 Montag, 17. März 2008 2:50 1430 Tutorial 1: Recording audio Playback We are going to learn how to play back audio in Nuendo. You might think this is very simple – just hit “Play”. It is ac- tually this simple but there are a few tricks to learn so that you’ll be playing back what you want with precision. To start playback There are a few ways you can play back in Nuendo.

• Click the “Start” button on the Transport panel.

• Press the space bar on your computer keyboard. This toggles between start and stop.

• Press the [Enter] key of the numerical computer keypad.

• Double-click in the lower half of the ruler.

• Select the audio event called “Audio 01_01” and choose “Loop Selection” from the Transport menu. To stop playback

• Click the “Stop” button on the Transport panel.

• Clicking the “Stop” button twice moves the cursor to the position in the project where you started playback.

• Press the space bar on your computer keyboard. This toggles between stop and start.

• Press the “0” key of the numerical computer keypad. Cycle playback Nuendo has the ability to loop or cycle a section of your project. To set the cycle location you need to use the left and right locator.

1. On the Transport panel, set the left locator to “1” and

the right locator to “5”. This tells Nuendo that we want to loop or cycle between bars 1 and 5. Meaning we will have a 4 bar loop since the end of bar 4 is the beginning of bar 5.

2. Make sure that the “Cycle” button is activated.

3. Click the Start button on the Transport panel and Nu-

endo will play looping over and over until you click “Stop”.

Load the project called “Playback” found in the “Tutorial 1” folder. Double-click in the lower half of the ruler… … to start playback

The default key command for this is [Shift]+[G]. This is the quickest way to loop an audio event and start playback!

Don’t forget – you can set the locators to encom- pass the selected event, turn on “Cycle” and begin playback all by the key command [Shift]+[G]. The left locator set to “1”. The right locator set to “5”. Cycle activated. GS_Nuendo_GBDF.book Seite 30 Montag, 17. März 2008 2:50 1431 Tutorial 1: Recording audio Recording modes with cycle off There are three different modes for recording when the cycle is turned off. This is called linear recording. The three modes are:

• Replace When recording audio, “Normal” and “Merge” are the same. Selecting either of these will allow you to record over the top of another audio event and it will appear as an overlap. You can then select between the overlapping events and determine which one will play. This is dis- cussed in the section “Cycle recording” on page 31. “Replace” mode when used will not overlap the audio if there is already some on the track. It will split or cut the audio where the recording takes place replacing what was there previously. Keep in mind though that the audio being replaced is not permanently deleted. It is only cut or trimmed away allowing you to recover it later. Cycle recording You can record audio while “cycle” is on. So far we’ve shown you how to add tracks, record and playback. Now we are going to add an electric guitar to our bass guitar using cycle recording. Recording with cy- cle on allows us to make multiple passes of our recording and then pick the best take. If you haven’t reviewed the previous sections in this tuto- rial, please do as we are going to move a little faster now. Recording electric guitar

1. Let’s add another “Mono” audio track.

2. You can see now that we have a track called “Audio

01” and “Audio 02”. Up to now we haven’t been con- cerned about naming the tracks but let’s do this now.

3. Double-click on “Audio 01” and re-name it “Bass”.

4. Double-click on “Audio 02” and re-name it “Elec Gui-

tar”. That looks a lot better now.

• It’s always good to name your tracks before you start to record. This way the audio event will take the name of the track. Since “Audio 01” was the name of our first track the audio event is named “Audio 01_01”. The suffix “_01” be- ing the first event recorded on the “Audio 01” track. We’ll show you how to re-name your audio files in the chapter “Tutorial 2: Editing audio” on page 34.

5. Make sure “Cycle” is activated, set the left locator to 2

and the right locator to 18. This will loop or cycle between bars 2 and 18.

6. On the Transport panel, make sure “Mix (MIDI)” is se-

lected for the “Cycle Record Mode”. This will allow us to record the electric guitar, and as each cycle repeats a new take will be created. We will then choose the best take to keep as our guitar line.

7. Activate the Record Enable and Monitor buttons on

the “Elec Guitar” track.

8. Click the “L” button on the Transport panel once.

This will make sure we start recording at the left locator.

9. Click the “Record” button on the Transport panel.

As you record the guitar, let the cycle repeat three times so we have three different guitar takes.

10. Click “Stop” when you’re finished. We’ve just re-

corded three different guitar takes. Now let’s figure out how to select the best sounding one. Selecting different takes

1. Right-click on the new guitar audio event that we just

recorded and choose a take from the “Set to Region” sub- menu. Nuendo has recorded all of the passes we made when we were record- ing in loop mode (Cycle Recording). These passes are called “Takes”. In our example we have three different guitar takes. We can pick between them and choose which one sounds best.

2. Listen to the different takes and when you are done,

choose “Take 1”. Stacked recording Stacked recording is very similar to cycle recording but with one difference – you can see the “Takes” that you record all the time instead of them being hidden underneath.

1. Create a new “Mono” track.

2. Re-name the track “Guitar 2”.

3. On the Transport panel, select the Cycle Record

Mode “Stacked”. The Cycle Record Mode pop-up menu.

4. Activate the Record Enable and Monitor buttons on

the track “Guitar 2”.

5. Click the Record button on the Transport panel.

6. When you are done recording, click “Stop”.

You should see the recorded audio events appearing below each other as separate takes.

7. Click the lower border of the “Guitar 2” track and drag

downwards to resize it larger. This allows you to see the audio takes much better.

8. Deactivate the Record Enable and Monitor buttons.

9. Open the Preferences dialog (Editing–Audio page)

and make sure that the option “Treat Muted Audio Events like Deleted” is activated.

10. On the toolbar, select the Mute tool.

This will allow us to switch between our stacked recorded takes.

11. You will see three takes. The bottom two are muted

and the top one that is green colored (Take 1) is the one that will currently play.

12. Mute “Take 1” and un-mute “Take 2”.

This allows “Take 2” to be heard. Notice that “Take” 2 is now colored green.

13. You can do the same for “Take 3”.

Continue to the following chapter, as we will show you how to edit what we’ve recorded using some of the tools.

Load the tutorial called “Stacked Recording” found in the “Tutorial 1” folder. GS_Nuendo_GBDF.book Seite 33 Montag, 17. März 2008 2:50 145 Tutorial 2: Editing audio GS_Nuendo_GBDF.book Seite 34 Montag, 17. März 2008 2:50 1435 Tutorial 2: Editing audio Event operations In this section we’ll learn how to edit events or parts. This includes rename, resize, split, glue, move, copy, repeat, mute, erase and adding a fade. Renaming If we look at the audio events that we recorded earlier, we notice that the bass track has an audio event on it called “Audio 01_01”. This is because the name of the track was originally “Audio 01” and the suffix “_01” means that it is the 1st audio file to be recorded on the track. The second audio file would be called “Audio 01_02”. Naming your audio files keeps your project clean and easy to understand. Let’s rename “Audio 01_01” to “Bass”:

1. Choose the Object Selection tool.

2. Click on the event “Audio 01_01”.

3. Make sure “Show Event Infoline” is activated on the

• The “Event Infoline” gives us detailed information about an object or objects that are currently selected in the event display.

4. Change “Audio 01_01” to “Bass” underneath the

word “File”. This changes the audio file’s name directly on the hard drive – easy!

5. Notice that our audio event now says “Bass”.

Resizing You resize an event by adjusting the start and/or end of the event. Used in combination with the split tool this is usually all the editing you’ll need.

1. Choose the Object Selection tool.

2. Click on the event you wish to resize.

In our case let’s change the “Bass” event.

3. Position the cursor over one of the squares at the bot-

tom right or bottom left of the event. Click and adjust the “Bass” event so that it lines up with “Elec Guitar_01”.

Load the project called “Event Operations” found in the “Tutorial 2” folder. The name has changed from “Audio 01_01” to “Bass”. There is extra space on ei- ther side of the Bass audio event that we don’t want. Red squares appear on the bottom left and bottom right of the event. Resize the event with these. GS_Nuendo_GBDF.book Seite 35 Montag, 17. März 2008 2:50 1436 Tutorial 2: Editing audio Splitting Splitting is used to cut events. You can split or cut an event wherever you want or split them evenly to bars and beats. Splitting with “Snap” off Splitting with “Snap” off allows you to cut anywhere with- out locking to any kind of reference like bars and beats.

1. Choose the Split tool.

2. Make sure “Snap” is off (not highlighted).

Snap allows you to edit to various time frames. The most common one is bars and beats. Meaning you can cut exactly to the bar with “Snap” turned on. With it turned off you can cut anywhere. See more about “Snap” in the chapter “The Project window” in the Operation Manual.

3. You can now split or cut the audio anywhere by click-

4. Undo your actions by choosing “Undo Split” from the

Edit menu as many times as you used the Split tool. Make sure there are no splits in the “Bass” event any more. Splitting with “Snap” on Having “Snap” on allows you to split or cut to a time refer- ence. For example, if you want to cut the “Elec Guitar” track to bars or beats.

1. Choose the Split tool.

2. Make sure “Snap” is on.

Snap allows you to edit to various time frames. The most common one is bars and beats. Meaning you can cut exactly to the bar with “Snap” turned on. With it turned off you can cut anywhere. See more about “Snap” in the chapter “The Project window” in the Operation Manual.

3. If you are having trouble seeing anything beyond the

“Tool Buttons”, right-click in the toolbar (the top bar that the “Tool Buttons” are on). This allows you to change what you see at the top of the Project window. Customization is in the heart of Nuendo.

4. Choose “Default” so that if you changed anything it

will return to the default settings. Here are the splits that were made to the Bass event. There is more to see but your screen resolu- tion may prevent you from seeing everything. Right-click in the toolbar. GS_Nuendo_GBDF.book Seite 36 Montag, 17. März 2008 2:50 1437 Tutorial 2: Editing audio

5. Next, right click again and choose “Automation Mode”

so that the automation tools are hidden from view. Now we can see enough for us to continue on with the Split tool.

6. With most of the snap features in view, choose “Grid”

from the Snap mode pop-up menu to the right of the Snap button. This means we’ll be snapping to a grid.

7. Next choose “Bar” as the “Grid Type”.

This means you will split to bars.

8. You can now split the “Elec Guitar_01” event pre-

cisely to the bar. Cut on bars 6, 10 and 14. Splitting with [Alt]/[Option]

1. Choose the Split tool.

2. Hold down [Alt]/[Option] and click on the bass event

at bar 3 and the length of the split will be repeated until the end of the event. You can try this with “Snap” on or off.

3. Select “Undo Split” from the Edit menu and return the

bass to the way it was. Gluing or joining events Using the Glue tool allows you to join events together that have been cut using the Split tool.

1. Choose the Glue tool.

2. Glue together the split events in the “Elec Guitar”

2. Move all the events in the Project window from bar 2

to bar 1. Click and hold the mouse on an empty area of the Project window. Drag to create a selection of all the events. When you release the mouse button, all the events will be selected.

3. With all the events selected, click and drag them to

4. Click on an empty area of the Project window so that

no event is selected. Copying events Copying can be used to copy an event to another area in the Project window. If you want to make several copies in one go, see “Repeating” on page 39. Using Copy and Paste

1. To copy an audio event, click on the desired event and

choose “Copy” from the Edit menu. In our case let’s choose the “Elec Guitar_01” event.

2. Position the cursor at the point in the project that you

wish the copy to be made. We’ll put our cursor at bar 17.

3. Make sure you click on the track that you want the

copied event to be copied to. Choose “Paste” from the Edit menu. It is possible that you may have another track selected. If so the “Paste” command would paste it to a different track. Always note the track you have selected before choosing “Paste”.

4. Now we have two guitar events. Note that we also

copied the takes that were on the guitar track. We can use these later. Using the [Alt]/[Option] key

2. We are going to copy the “Guitar 2” events. Remem-

ber that there are three events since we used stacked re- cording to record them. Select all of the “Guitar 2” events by clicking and dragging as described above. GS_Nuendo_GBDF.book Seite 38 Montag, 17. März 2008 2:50 1439 Tutorial 2: Editing audio

3. Click and hold the selected events and drag to the po-

sition you wish the copy to be made. Then release the mouse button. Don’t worry about the “Scissor” icon that appears. As soon as you click and hold on the event you are copying it switches to an arrow with a “+” sign indicating that you are copying. Repeating Repeats are great for repeating something over and over directly after the event you want to repeat.

1. Click the bass event with the Object Selection tool.

2. Choose “Repeat” from the Edit menu.

3. In the dialog that opens, choose how many copies you

wish to make by increasing the “Count” field.

• You can choose to select “Shared Copies” if you want. Shared copies allow you to make aliases to the original event. This means that if you make changes to the original event (such as processing or editing), the copies will re- flect those changes. This is a big time saver!

4. Click “OK” and the repeat will be placed directly after

the Bass event. Muting Muting an event stops you from hearing just that event. You may want to mute events on a track so that the track continues to play except for the events you mute. Note that this is different from muting a track.

2. Click on the event you wish to mute.

3. To un-mute an event, click on the muted event with the

Mute tool again and it returns to normal.

• If you drag with the Mute tool you can mute a number of events at a time. Equally this will un-mute events that are muted. Erasing

1. Choose the Erase tool.

2. Click on the events you wish to erase.

Adding a fade You can add a fade to an event to give the effect that the event is fading in or fading out.

1. Choose the Object Selection tool.

2. Click on the event you wish to add a fade to.

3. Click on one of the blue triangles and move it so that a

fade appears. Notice the blue triangles that appear at the top left and top right of the event. GS_Nuendo_GBDF.book Seite 40 Montag, 17. März 2008 2:50 1441 Tutorial 2: Editing audio

4. For more advanced fades you can double-click on the

fade area to open up the fade dialog. See the chapter “Fades and Crossfades” in the Operation Manual for more information. Event envelopes An envelope is a volume curve for an audio event. This al- lows you to adjust the volume of the event over time.

1. Select the Pencil tool.

When you move the Pencil tool over an audio event, a small volume curve symbol is shown next to the tool.

2. Click on the “Elec Guitar_01” event and notice that an

envelope point appears. Clicking either high or low on the event will change the event volume to either loud of soft.

3. Clicking further on will create more points.

As you create more and more envelope points, you are adjusting the vol- ume of the event over time. The waveform reflects the changes you make. Processing audio Nuendo has the ability to make changes to the audio in more ways than splitting and resizing. You can normalize, reverse, pitch shift and time stretch, to name a few. For a full explanation on processing audio, see the chapter “Au- dio processing and Functions” in the Operation Manual. You can process the whole audio event or use the Range Selection tool and select just the section of audio you want. Let’s show you how to Normalize and Reverse an audio event. Normalize Normalize raises the volume of the audio to the desired amount. Usually you adjust the slider to “0” dB or “-1” dB so that you get the maximum volume without clipping your audio. A common use for Normalizing is to raise the level of audio that was recorded at too low an input level. Ö Please note that in some situations, this function may lead to distortion. Therefore, you should use it carefully and listen to the audio material afterwards, to make sure it sounds as intended.

1. With the Object Selection tool, click on the audio

event you wish to change. You can also use the Range Selection tool and select the section of au- dio you want.

Load the project called “Event Operations 2” found in the “Tutorial 2” folder. This project has all the event operation changes you’ve learned so far. Double-click here to open the fade dialog.

3. Adjust the slider to the amount you desire. A setting of

“0” db or “-1” db is common.

4. Click the Process button and your audio is now nor-

malized. For a description of the “More” and “Preview” buttons, see the chapter “Audio Processing and Functions” in the Operation Manual. Reverse The “Reverse” command reverses the audio selection. This will sound as if you were playing a tape backwards.

1. With the Object Selection tool, click on the audio

event you wish to change. In our case, let’s pick the bass audio event. You can also use the “Range Selection” tool and select the section of audio you want.

3. If you have copied events in the Project window, this di-

alog box will open. It asks if you want all the copied events changed (Continue) or if a new version is to be created so that only your selection is affected (New Version).

4. Clicking either “Continue” or “New Version” will re-

Audio processing in Nuendo is “non-destructive”, in the sense that you can always undo changes or re- vert to the original versions. See the chapter “Audio Processing and Functions” in the Operation Manual. GS_Nuendo_GBDF.book Seite 42 Montag, 17. März 2008 2:50 146 Tutorial 3: Recording and editing MIDI GS_Nuendo_GBDF.book Seite 43 Montag, 17. März 2008 2:50 1444 Tutorial 3: Recording and editing MIDI Introduction In this chapter, we are going to add some more instru- ments to our song. In the previous tutorials, we have re- corded audio. Now we are going to record using MIDI. There are two ways in which we can have MIDI sounds appear in Nuendo: via virtual instruments, that is a synthe- sizer inside your computer or through the use of a tradi- tional hardware keyboard. This tutorial will focus on virtual instruments, while the chap- ter “Tutorial 5: External MIDI instruments” on page 55 will show you how to record via a hardware synthesizer. Creating an Instrument Track

1. Let’s start by adding a string part to our song. From the

Project menu–Add Track submenu, select “Instrument”. In previous versions of Nuendo, you needed a MIDI track routed to a vir- tual instrument found in the “VST Instruments” window. You can still use this method but instrument tracks are far more convenient.

2. From the “Instrument” pop-up menu, choose “HALion-

One” (Nuendo Expansion Kit only), then click “OK”. An instrument track is created below the selected track in the Project window.

3. Make sure the “Inspector” is shown.

4. Click in the name field of the instrument track. It should

be the only instrument track you created, so the name should be “HALionOne 01”. We can double-click on this and change it to “Strings”.

5. Click on the “Edit Instrument” button to open the con-

trol panel for “HALionOne”.

6. If you want “HALionOne” to stay always on top while

you are working you can right click on the bar near the top of the instrument and select “Always on Top”. Browsing sounds We are now going to load sounds into our virtual instrument “HALionOne”.

1. Click the “Preset” button in “HALionOne” and choose

“Load Preset” from the pop-up menu.

2. In the “Category” section, make sure only “Strings” is

selected by deselecting anything else and clicking on “Strings”. In the “Sub Category” click on “Synth”. You have filtered the list to only show synth strings. Choose a string sound from the list on the right. Then click “OK”. Right-click here to select “Always on Top”.

Load the project called “Recording MIDI 2” found in the “Tutorial 3” folder. Category Sub Category Filtered List GS_Nuendo_GBDF.book Seite 45 Montag, 17. März 2008 2:50 1446 Tutorial 3: Recording and editing MIDI MIDI recording Now that we have our sound, let’s record something. Re- cording MIDI is very similar to recording audio, see the chapter “Tutorial 1: Recording audio” on page 24. Setting MIDI input

1. Make sure you have a MIDI keyboard connected to your

computer either directly through USB or a MIDI interface. See the chapter “Setting up your system” on page 14 for information on setting up MIDI in your computer.

2. We want to have our MIDI keyboard routed to this

track and play “HALionOne”. Make sure the “Inspector” is shown so we can see our MIDI input and output routing.

3. Next, on the input routing pop-up menu, choose the

MIDI input you wish to use. Most people leave this on “All MIDI Inputs” since you don’t have to worry about which in- put is which. “All MIDI Inputs” takes the MIDI signal from all your inputs and routes it to this track. There are some cases where you wouldn’t want this but for 99% of the time you’ll be safe with this option selected.

4. Below the MIDI input routing pop-up menu, you can

set the MIDI output. This is set to our virtual instrument “HALionOne”. If for any reason you need to change this to another instrument you can do this here.

5. Activate the Record Enable and Monitor buttons on

the track and play some notes on your MIDI keyboard. You should see and hear the MIDI signals coming in to the right of the track. Setting the track to Record Enable lets Nuendo know that you want to record on this track. You can have many tracks Record Enabled at a time.

6. Set the left locator to bar “1” and the right locator to

7. Make sure Cycle is turned off.

We are going to record without looping. We’ll cover MIDI cycle recording in the section “Cycle recording” on page 48.

8. Press [1] on the numeric keypad of your computer

keyboard. This will move the cursor to the left locator.

9. Click the Record button and record a few bars of mu-

10. Click the Stop button when you are finished.

11. Turn off the Monitor and Record Enable buttons on the

track so that we don’t hear the input or record on the track any more. Congratulations! You have just created your first MIDI re- cording in Nuendo. Move ahead to the next section to learn how to play back MIDI. The MIDI input routing pop-up menu. Record Enable Monitor GS_Nuendo_GBDF.book Seite 46 Montag, 17. März 2008 2:50 1447 Tutorial 3: Recording and editing MIDI MIDI playback We are now going to learn how to play back MIDI in Nu- endo. You might think this is very simple – just hit “Play”. It is actually this simple, but there are a few tricks to learn so that you’ll be playing back what you want with precision. To start playback

• Click the Start button on the Transport panel.

• Press the space bar on your computer keyboard. This toggles between start and stop.

• Press the [Enter] key of the numerical computer keypad.

• Double-click in the lower half of the ruler.

• Select the MIDI event called “Strings” and choose “Loop Selection” from the Transport menu. To stop playback

• Click the Stop button on the Transport panel.

• Clicking the Stop button twice moves the cursor to the position in the project, where you started playback.

• Press the space bar on your computer keyboard. This toggles between stop and start.

• Press the “0” key of the numerical computer keypad. Cycle playback Nuendo has the ability to loop or cycle a section of your project. To set the cycle location you need to use the left and right locator.

1. On the Transport panel, set the left locator to “1” and

the right locator to “5”. This tells Nuendo that we want to loop or cycle between bars 1 and 5. Meaning we will have a 4 bar loop since the end of bar 4 is the beginning of bar 5.

2. Make sure that the Cycle button is activated.

3. Click the Start button on the Transport panel and Nu-

endo will play looping over and over until you click Stop. Recording modes with cycle off There are three different modes for recording when the cycle is turned off. This is called linear recording.

• Normal “Normal” allows you to record on top of previously recorded MIDI. You will be able to see both MIDI parts on the screen overlapping each other.

• Merge “Merge” joins or merges any MIDI data previously recorded on the track. An example of this is when recording drums – adding the kick drum on one pass and then the snare drum on another pass. The MIDI data is then joined together as one MIDI part.

• Replace “Replace” mode will replace or overwrite any previous MIDI recording that was on the track.

For this section, make sure you load the project “MIDI Playback” found in the “Tutorial 3” folder.

The default key command for this is [Shift]+[G]. This is the quickest way to loop the selected MIDI event and start playback! The left locator set to “1”. The right locator set to “5”. Cycle activated GS_Nuendo_GBDF.book Seite 47 Montag, 17. März 2008 2:50 1448 Tutorial 3: Recording and editing MIDI Cycle recording You can record MIDI while the Cycle is activated. Recording MIDI drums

1. Let’s add another “Instrument” track and choose

“HALionOne” (Nuendo Expansion Kit only) as our instru- ment.

2. Click in the program field in the Inspector and load up

a drum sound of your choice found under the category “Drums&Perc”, sub-category “Drumset”.

3. Rename this new track to “Drums”.

4. Make sure the Cycle button is activated and set the

left locator to “9” and the right locator to “13”. This will loop or cycle between bars 9 and 13.

5. On the Transport panel, make sure “Mix (MIDI)” is se-

lected for the “Cycle Record Mode”. This will allow us to record the drums, and as each cycle repeats, the MIDI will mix together into one part. This makes it easy to create complex drum rhythms.

6. Activate the “AUTO Q” button. This is the automatic

quantize function which will lock our MIDI to the beat as we record it. Great if we play off time a bit.

7. Next we have to set the value of our quantize. This is

so Nuendo knows what to lock our MIDI notes to. Choose “1/8” notes from the “Quantize Type” pop-up menu.

8. Activate the Record Enable and Monitor buttons on

9. Click the “L” button on the Transport panel once.

This will make sure we start recording at the left locator.

10. Activate the Record button on the Transport panel and

let’s record hi-hat on the first pass, kick on the second pass and then finally snare on the third.

12. Now move and copy this drum part so that the rest of

the song has a drum beat. Move and copy were discussed in the chapter “Tutorial 2: Editing audio” on page 34.

13. Glue all the parts together as one.

The Glue tool was discussed in the chapter “Tutorial 2: Editing audio” on page 34. The Key Editor The Key Editor is where we can make changes to our MIDI data. Erasing MIDI notes

1. Double-click on the “Drums” part so that the Key Editor

opens. Here we can see our drum notes lined up with a keyboard on the left. At the bottom we have the velocity of each of the MIDI notes and at the top we can see the time ruler.

2. We want the song to start off with hi-hat and kick

drum. Erase the snare by clicking once and holding the mouse while dragging a selection over the snare drum. Make your selection from bars 1 through 8. A common term for this is to “lasso” the notes.

3. Press the [Delete] key to delete the snare notes.

4. Zoom in on the bar 1 and delete all the hit-hat notes

with the Erase tool of the Key Editor so that you only hear 1/4 notes.

5. Now erase all the other hi-hat notes from bar 2

through 8 using any method you like. Copying MIDI notes Let’s copy the MIDI notes in bar 1 to bars 2 through 8.

1. Lasso the hi-hat notes in bar 1. Hold down [Alt]/[Option]

and drag the notes in bar 1 to bar 2. This copies them.

2. Continue copying until bar 9.

Creating or drawing in MIDI notes Now we need to draw in a cymbal crash in bar 25.

1. Scroll over to bar 25 and click on the piano roll on the

left hand side of the Key Editor. Click on the notes until you hear a crash cymbal that you like. There is a good one at C#2.

2. Select the Pencil tool of the Key Editor and draw in the

crash cymbal note at bar 25 by clicking and dragging for a full bar. Click and drag with the Pencil tool GS_Nuendo_GBDF.book Seite 50 Montag, 17. März 2008 2:50 1451 Tutorial 3: Recording and editing MIDI The Controller lane The “Controller Lane” allows us to add in or modify MIDI data such as velocity and controller information. The most common use for this is to edit velocity, pitch bend and controller numbers for things like filter etc. If you find that the MIDI velocity is too loud or quiet on cer- tain notes, you can view and edit them at the bottom of the Key Editor.

1. Make sure you can see the Controller Lane by clicking

on the “Controller Lane Presets” button at the bottom left of the Key Editor.

2. Choose “Velocity Only” to view the velocity.

3. You can choose the MIDI information you wish view or

change from the pop-up menu.

4. You can also select “Setup” to view more controllers.

5. Use the Pencil tool of the Key Editor to draw in new

velocities for the notes. You can even draw in curves and ramps. Pick one from the list or choose setup for more controllers. GS_Nuendo_GBDF.book Seite 51 Montag, 17. März 2008 2:50 147 Tutorial 4: Working with loops GS_Nuendo_GBDF.book Seite 52 Montag, 17. März 2008 2:50 1453 Tutorial 4: Working with loops Loop Browser The “Loop Browser” allows you to have a single window that gives you quick and easy access to all your loops. In the “Loop Browser” you can search for audio files, use tags to categorize, audition the audio in the open project’s tempo and a whole lot more. Adding loops

1. Select “Open Loop Browser” from the Media menu.

2. Once the Loop Browser has finished scanning your

hard disk(s) for loop files, they will be displayed in the Viewer section.

3. Selecting a loop file in the Viewer section will display it

graphically below in the Scope section.

4. Click the Start button to listen to the loop. The “Play in

Project context” option allows you to audition the loop in the project’s tempo. This is handy if the loop you are audi- tioning has a tempo that is different from the one you are using in your project.

5. If you have many loops you can search for them using

the Filter options at the top of the Viewer section.

6. Once you have found the loop you like, drag and drop

it into your project. If you haven’t made an extra audio track for the loop, one will be created automatically for you.

7. Rename the new track to “Loop 1”.

Load the project called “Loops” found in the “Tutorial 4” folder. Search for sounds here Your Loops Audition loops Audition controls (Start, Stop, Pause, Cycle and level slider) Play in Project context button Auto Play – this automatically starts playback for the selected file. Drag from the Loop Browser into your project GS_Nuendo_GBDF.book Seite 53 Montag, 17. März 2008 2:50 1454 Tutorial 4: Working with loops Making copies Now that we have our loop let’s copy it using the “Repeat” function.

1. Click on the loop event in the Project window to select it.

2. Choose “Repeat” from the Edit menu.

3. In the dialog that opens, set the “Count” field to “13”.

4. Click “OK”. The loop will be copied 13 times and all

repeats will be placed one after the other. Insert into Project We are now going to add one more loop. This time we’ll use the “Insert into Project” command.

1. Create a new stereo audio track.

2. Rename the track to “Loop 2” and make sure it is se-

lected, as “Insert into Project” works using a selected track.

3. Position your cursor where you would like the loop to

be inserted. In our case, let’s choose bar 9.

4. In the “Loop Browser” right-click on the loop you want

and choose “Insert into Project at cursor”. This will drop the loop into the Project window at bar 9 on the “Loop 2” track.

5. Use the “Repeat” command to repeat the loop out un-

til the end of the project. Make sure you read up on the “Loop Browser” in the chapter “The MediaBay” in the Operation Manual. GS_Nuendo_GBDF.book Seite 54 Montag, 17. März 2008 2:50 148 Tutorial 5: External MIDI instruments GS_Nuendo_GBDF.book Seite 55 Montag, 17. März 2008 2:50 1456 Tutorial 5: External MIDI instruments Introduction In this tutorial we are going to show you how to set up your MIDI devices and how to record them into Nuendo. You may have a MIDI keyboard that is playing back MIDI data from Nuendo and you want the data recorded as au- dio for further processing for the final mix. Learning to use the right tools will make these steps easy. By adding External instruments in Nuendo you can have a MIDI keyboard’s audio outputs plugged directly into your audio card’s inputs so that Nuendo can monitor and record the signal in realtime. Setting up MIDI devices First let’s set up the MIDI devices that you have connected to your computer. Please note that every setup is different and that you’ll have to do some further reading in the Op- eration Manual to get everything 100% the way you want it. This tutorial covers a basic setup with the Steinberg MI4 interface and the Kurzweil K2000 keyboard.

1. Start off by first opening the “MIDI Device Manager”

from the Devices menu.

2. Next click the “Install Device” button, so we can add

the K2000. Select it in the list and then click “OK”. You may have another keyboard other than the Kurzweil K2000 in this list. Feel free to select it now.

3. We can then add a MIDI output to the “K2000”. Se-

lect it in the “Output” pop-up menu. This will make things very handy later on!

4. Close the MIDI Device Manager when you are done.

• MIDI devices contain all the necessary information to select patches on the MIDI device that you are using. If your device is in the list, make sure you have it set up. If your MIDI device is not in the list, you can choose “Define New…” to create it. Make sure you read the separate pdf document “MIDI Devices” for more detailed information. Setting up VST connections for external instruments Now we have our MIDI device all set up. We are now go- ing to set up our inputs so that we can listen to the audio output of our keyboard play into the Steinberg MI4’s audio inputs. This is what is meant by “external instruments”: having your external MIDI instruments play into Nuendo.

1. On the Devices menu, choose “VST Connections”.

The default key command for this is [F4].

2. Open the “External Instruments” tab.

3. Click on the “Add External Instrument” button and type

in “K2000” into the “Name” field. You can use any name you choose if you have a different setup than what we are using in this tutorial.

Load the project called “External MIDI 1” found in the “Tutorial 5” folder.

4. We want the audio from the K2000 to be in stereo.

This means we are going to physically plug audio cables from the K2000’s output into the MI4 input. Since the MI4 has 4 inputs we are going to plug them into the Line In 3 and 4. Choose “1” for “Stereo Return(s)” since the K2000 has a left and right output.

5. We created a MIDI device earlier, so let’s click on “As-

sociate MIDI Device” and choose the “K2000”.

6. Click “OK” to close the dialog.

7. Make sure you set the correct inputs and outputs for

your new external instrument bus in the Device Port column. This is what our external instrument bus should look like.

8. Close the “VST Connections” window and select the

“Loop 2” track. We are going to add a new track. By selecting the “Loop 2” track, the new track will be added below this.

9. Open the Project menu and, on the “Add Track” sub-

menu, select “Instrument”.

10. For “instrument”, choose the external instrument that

we created. In our case it’s the “K2000”. For “count” choose “1”.

11. Click “OK” to close the dialog.

Now let’s go to the next section and monitor our external instrument. We’ll also choose a sound and record some MIDI. Monitoring external MIDI instruments

1. Activate the Record Enable and Monitor buttons on the

see the MIDI indicators on the Transport panel light up and you’ll be able to hear the K2000 playing through Nuendo. Play whichever keyboard you have created in the MIDI Device Manager for this tutorial. To create a new MIDI Device (e.g. if you didn’t find yours on the list), select “Create Device”.

3. Let’s rename the track “K2000” to “Piano” since it’s

piano that we’ll be recording on this track. This doesn’t rename the external instrument name in the “VST Connec- tions” window, but only in the Project window.

4. Remember that we created a MIDI device in the MIDI

Device Manager. MIDI Devices contain valuable informa- tion about patch names, bank selections and a few other things. This helps us in that we already have all the pro- gram names for the K2000 at our disposal. Click on the “Programs” button in the inspector and choose the “Ste- reo Grand” piano sound. If your MIDI device is different from the one in this tutorial choose a piano sound from your device. That’s it. We are now monitoring and playing our external instrument. You can add effects and EQ to the external in- strument just like a virtual instrument or an audio track. We’ll do this in the next tutorial. For now let’s record some MIDI. Recording MIDI and external instruments Now let’s record some MIDI on our instrument track.

1. Activate the Record Enable and Monitor buttons on the

Piano track if they aren’t already on.

2. If you find the levels low, you can click on the “Edit In-

strument” button and move the “Return Gain” slider so that you hear more of the external instrument.

3. Click the Record button on the Transport panel and

record a piano line.

4. Click the Stop button when you are finished.

5. Turn off the “Record Enable” and “Monitor” buttons on

the “Piano” track so that you don’t hear the input any more and that you won’t accidentally record on it. Congratulations! You’ve just recorded your first external MIDI instrument. Move on to the next tutorial as we will discuss mixing, EQs, effects, automation and exporting. Click the “Programs” button to select a pi- ano sound.

Load the project called “External MIDI 4” found in the “Tutorial 5” folder.

Load up the project called “External MIDI 5” found in the “Tutorial 5” folder to hear all the changes we’ve made so far. GS_Nuendo_GBDF.book Seite 58 Montag, 17. März 2008 2:50 149 Tutorial 6: Mixing and effects GS_Nuendo_GBDF.book Seite 59 Montag, 17. März 2008 2:50 1460 Tutorial 6: Mixing and effects Introduction In this section we’ll draw from the last 5 tutorials and finally get a mix ready with proper levels, EQs and effects. Auto- mation will be added and then we’ll export the audio. Setting levels The first thing we want to do is to set the levels for our project. This helps us get a preliminary balance of the mix so we can add EQ and effects later.

1. Select the Mixer from the Devices menu.

The default key command for this is [F3].

2. Hide the input channels from view (we won’t be using

them any more), by clicking the “Hide Input Channels” button in the common panel to the left of the Mixer.

3. Click the Start button on the Transport panel and lis-

4. Move the faders for each track so that you can hear all

of the mix the way you like it.

5. If for any reason you need to get the fader back to 0dB

(the default setting), you can [Ctrl]/[Command]-click di- rectly in the fader area.

6. You can also change the fader by double-clicking in

the “Channel Level” area and entering the level manually.

7. Be careful when it comes to how loud you raise the

faders. Make sure you keep levels at a good volume so that they are as loud as possible without clipping. You will always know when you are clipping: when the “CLIP” indi- cator lights up on the output channel. If it does, lower your levels and click on “CLIP”. This will reset the warning light.

• That’s it for setting the levels. Let’s look at pan next.

Load the project called “Mixing 1” found in the “Tuto- rial 6” folder. Channel meters Channel fader Channel Level Peak Meter Value GS_Nuendo_GBDF.book Seite 60 Montag, 17. März 2008 2:50 1461 Tutorial 6: Mixing and effects Setting pan

1. Setting the pan for each track moves its position in the

stereo mix. It will either keep the signal balanced in the middle of the left and right speaker, lean to the left or lean to the right or be completely in the left or right speaker.

2. Right-clicking in the panner for certain track types pre-

sents you with three different types of pan options. The different pan options are described in detail in the chapter “The Mixer” in the Operation Manual.

• To get the panner back to the middle (the default posi- tion), [Ctrl]/[Command]-click anywhere in the panner area.

3. Let’s pan our two guitars slightly left and slightly right.

This will spread them out a bit.

4. Keep the “Drums” track in the middle but let’s move

“Loop 1” a bit to the left and “Loop 2” a bit to the right. This will give our rhythm section a larger, more spacious sound. That’s it for pan, let’s move on to Mute and Solo. Mute and solo

• For each track there is an “M” for mute and “S” for solo button. Mute will prevent you from hearing the track and solo will only play that track or tracks which have “S” high- lighted.

• You can have several tracks muted or soloed at a time.

• When you solo a track, the other tracks become muted.

Load the project called “Mixing 2” found in the “Tuto- rial 6” folder. Panner Pan amount Right click the pan area to open the pan mode pop-up menu.

• If you want to clear or deactivate all the mutes or solos, click on the “Deactivate all Mute” or “Deactivate all Solo” buttons in the common panel to the left of the Mixer.

• There may be times when you want certain tracks to al- ways play even if another track has solo active. If you [Alt]/ [Option]-click on the “S” button, this will place the track in “Solo Defeat” mode. This allows the track to always play even if you solo another track.

• To take a track out of “Solo Defeat” mode simply [Alt]/ [Option]-click it again. That’s it for mute and solo, let’s move on to adding EQ. Adding EQ EQ or equalization amplifies or attenuates frequencies so that we can place each instrument correctly in the mix. EQ is subjective and can be influenced greatly by the style of music that you are mixing. We’re going to run through the EQ features that Nuendo has to offer, but feel free to experiment and try out the dif- ferent presets on your mix.

1. Solo the Drums track and click the “Edit Instrument

Channel Settings” button.

2. This will open the Channel settings window, where

you can e.g. make EQ settings. Make sure you have a section of music looping so that you can hear the EQ changes you are making.

• There are four bands of EQ on each track.

3. Click the “EQ Band Active” button for each of the EQs

to turn them on. You can also click in the EQ curve area to turn on an EQ.

Load up the project called “Mixing 4” found in the “Tutorial 6” folder. “Deactivate all Mute” “Deactivate all Solo” Click the “EQ Band Active” button to turn on an EQ. Click in the EQ curve area to turn on an EQ. GS_Nuendo_GBDF.book Seite 62 Montag, 17. März 2008 2:50 1463 Tutorial 6: Mixing and effects

4. Click and move the EQ point up, down, right or left.

Moving the EQ point up or down raises or lowers the gain of the EQ. The gain makes that particular EQ louder or softer. The “EQ Band Gain” at the bottom of the EQ win- dow gives you the value of gain. If you hold down [Ctrl]/[Command], you can restrict the movement of the EQ to just up and down.

5. Moving the EQ point right or left changes the frequency

of the EQ. The “EQ Band Freq” setting at the bottom of the EQ window gives you the value of the frequency. If you hold down [Alt]/[Option], you can restrict the movement of the EQ to just right or left.

6. Holding down [Shift] while moving the EQ point up or

down changes the quality of the EQ. Many people refer to this as the width of the EQ. The “EQ Band Q” setting at the bottom of the EQ window gives you the value of the quality.

7. The “Preset Management” button allows you to recall

and store presets. Choose from the list to get a sound that’s close to what you want and then adjust it slightly. You can then store it as a new preset.

8. You can bypass the EQs by clicking on the “Bypass

Equalizers” button. If you [Alt]/[Option]-click, you can reset the EQ. A dialog window will open to confirm if you are sure you want to reset the EQs. If you are sure, click “Yes”. Experiment with the EQs on all your tracks in this tutorial. A good tip when using EQ is that it’s usually better to take away EQ (lower the gain) than to add it. Now let’s move on to effects. Move the EQ up or down to raise or lower the gain. “EQ Band Gain” amount “EQ Band Freq” amount Move the EQ left or right to change the frequency

We’ve made a whole bunch of EQ changes to this tutorial. Listen and see the changes by loading the project “Mixing 5” found in the “Tutorial 6” folder. “EQ Band Q” amount Moving the EQ up or down while hold- ing down [Shift] changes the Q GS_Nuendo_GBDF.book Seite 63 Montag, 17. März 2008 2:50 1464 Tutorial 6: Mixing and effects Audio effects Now let’s start using some effects. We can add effects by inserting the effect directly on a track or we can create an FX channel and use the auxiliary sends of each track to send to that FX channel. Insert effects

1. Make sure the Mixer is open.

You can open the Mixer from the Devices menu or by pressing [F3].

2. Begin playback and loop or cycle a section of music

so that you can hear everything. The tutorial project has its locators and cycle already set for this. Feel free to change this if you like.

3. Click on the “Edit Audio Channels Settings” button on

the Bass track to open the VST Audio Channel Settings window.

4. Let’s add compression to the Bass track to smooth it

out. Click on the “Select Insert Type 1” slot and choose “Compressor” from the Dynamics submenu.

5. Make changes to the compression. At the end of this

section, you can load the next tutorial that will contain all of the changes we have made. FX channels Now let’s show you how to create and use FX channels.

1. Close the Mixer and choose “FX Channel” from the

Add Track submenu of the Project menu.

2. Choose “Stereo” for “Configuration”, select the “Ste-

reoDelay” effect and click OK.

3. We are going to put delay on the “Elec Guitar” track.

Let’s set the delay so that the left side and right side have different delay settings and make sure the “Mix” is set to “100.0”. Giving the stereo delay different left and right settings creates a more dy- namic effect.

4. With the delay set, click the “Edit Channels Settings”

button of the “Elec Guitar” track.

5. Select “FX 1-StereoDelay” from the “Select Send

Destination” pop-up menu.

6. Click the “Activate Send 1” button to turn on the send.

This will allow you to send the guitar to the “StereoDelay”.

7. Move the slider to the right to raise the level of the

send to the “StereoDelay” effect. You will begin to hear the guitar being delayed. Clicking the “S” (solo) button on the track will allow you to hear this more clearly.

8. The great thing about FX Channels is that the channel

looks and feels just like a regular audio channel. When you set an EQ for an FX Channel, only this effect will be changed by the EQ. In our case changing the EQ on the “FX 1 – StereoDelay” FX channel will only change the EQ of the delay. About automation Automation allows us to make objects such as faders and knobs move by themselves. This is very handy in that we can tell Nuendo to make changes over a period of time and those changes will be remembered and will occur again without our attention.

1. We created a fade in on the “Elec Guitar” track earlier.

Let’s remove the fade on this audio event and create some automation instead. Zoom in so that you can see the first audio event more clearly.

2. Select the event and choose “Remove Fades” from

3. Click the “Show/Hide Automation” button at the far

left of the track. You may need to hover your mouse over the far left bottom area until you see the button appear as this is only shown when you need it.

4. Select the Pencil tool.

5. In the subtrack that appears below the audio event

use the “Draw” tool to draw in automation so that it resem- bles a fade in.

6. You can also use the “Line” tool to draw in automation

in a straight line. Perfect for fade in automation.

7. Listen to the fade in automation we created.

• You may have noticed that when we used the Pencil tool to place in automation, the “R” button (Read Enable) for the track became highlighted. This means that the au- tomation on this track is being read or played back. You can turn this off and the automation will not be read. In our case we drew in volume automation, and so in turning it off the volume will not fade in but stay at one level. There are so many examples to show when it comes to au- tomation. For example we could have automated our effects or our send levels. We could have even automated objects while Nuendo was playing back. The automation can be placed into write mode and moving almost any thing will create automation that we can edit for fine tuning later! Make sure you read the chapter “Automation” in the Opera- tion Manual to fully realize how exciting automation can be. Exporting Now that we have our project mixed we will want to export it so that we can import it into another program such as a CD burning application like WaveLab.

• Before we can export our mix we need to tell Nuendo how many bars to export. We accomplish this by setting the locators.

1. Set the left locator to bar 1 and the right locator to bar

65 on the Transport panel. This will make sure we have all the music for export.

3. The “Export Audio Mixdown” dialog opens.

This dialog is described in detail in the chapter “Export Audio Mixdown” in the “Operation Manual”. Please refer to this for more complete information.

4. “File Name” is for naming the file for export. Let’s name

our’s “Mixing Mixdown”.

5. The “Path” is where you wish to save the exported file

on your computer. Use the “Choose” button to navigate to the folder you wish to save to. For convenience there is the option “Use Project Audio Folder” which will store the exported file in your project’s audio folder. This is one of the best places to keep it so it won’t accidentally become erased or lost. Make sure “Use Project Audio Folder” is activated for this export.

6. Normally you’ll want to save your exported file as a

“Wave File” under “File Format”. This of course chiefly de- pends on what file format the other application such as a CD burning program requires.

7. You can choose whether you want the main stereo

outputs “Stereo Out (Stereo)” to be exported. This means the exported file will be generated through the main stereo outputs that we see in the Mixer. You can also choose the individual outs of each audio channel for flexibility in your export. Let’s choose “Stereo Out (Stereo)”.

8. Choose the “Sample Rate” and “Bit Depth” that will

be required for your export. 44.100 kHz and 16 bit are common for CD burning.

9. Activate the three options at the bottom of the dialog,

as these will import the audio back into Nuendo after you export it and automatically create an audio track. The “Ex- port Audio Mixdown” window will also close after export.

10. Before we finish, there is one very important feature that

we must select. This is “Real-Time Export”. Since we have an external MIDI instrument that is playing a physical key- board and its audio is coming back into Nuendo, we need the audio mixdown to happen in real-time. This ensures that the MIDI data is properly sent to the external MIDI instru- ment and recorded back in. Don’t forget this step!

11. When you are done making all the settings, click the

12. You will now see the exported stereo mix on a new

13. You can check to see if the audio mixdown sounds the

way you want it by soloing the mixdown track

Load the project called “Mixing 9” found in the “Tuto- rial 6” folder to see the results of this export. GS_Nuendo_GBDF.book Seite 68 Montag, 17. März 2008 2:50 1410 Tutorial 7: Surround production GS_Nuendo_GBDF.book Seite 69 Montag, 17. März 2008 2:50 1470 Tutorial 7: Surround production Surround busses Using surround sound in Nuendo is effortless. Surround becomes an extension of what we’ve already learned - just with a few more channels added. Let’s set up our inputs and outputs so that we are surround-ready. To fully use surround sound on your computer, you will need an audio card that has 6 or more inputs and outputs. If your audio card only has between 2-5 inputs or outputs, there may be sections of this tutorial that will not apply to your configuration. To learn more about surround beyond this tutorial, consult the chapter “Surround Sound” in the Operation Manual. Setting up surround outputs

1. Go to the Devices menu and choose “VST Connec-

tions”. The default key command for this is [F4].

2. Let’s choose the “Output” tab first. We want to start

from scratch and remove anything that is currently there, just in case it’s set up incorrectly. If you see anything in the “Bus Name” column, right-click with the mouse and choose “Remove Bus”.

3. Click the “Add Bus” button. Choose “5.1” for configu-

ration and “1” for count and click “OK”. This will add a new surround sound 5.1 bus (Left, Right, Center, LFE, Left Surround and Right Surround) allowing us to have audio in Nuendo route to our audio hardware.

4. Click in the Device Port column for the channels in the

bus and select the desired outputs (those connected to your speakers) from the context menu. Since 5.1 surround requires 6 speakers (or 6 individual outputs), make sure you select 6 separate outputs in the Device Port column. Setting up surround inputs Now let’s open the “Input” tab and set up the inputs we are going to use for recording surround sound into Nuendo.

1. Do the same as mentioned above for the outputs.

Right-click and select “Remove Bus”.

2. Now click the “Add Bus” button. Choose “5.1” for

configuration and “1” for count and click “OK”. This has now added a new surround sound 5.1 bus (Left, Right, Center, LFE, Left Surround and Right Surround), allowing us to record audio into Nuendo in 5.1 surround.

3. Click in the Device Port column for the channels in the

bus and select the desired inputs on your audio card from the context menu. Since 5.1 surround requires 6 individual inputs, make sure you select 6 separate inputs in the Device Port column.

Load the project called “Surround 1” found in the “Tutorial 7” folder. GS_Nuendo_GBDF.book Seite 70 Montag, 17. März 2008 2:50 1471 Tutorial 7: Surround production Recording with a 5.1 input bus Having a 5.1 bus allows you to record surround as one multi-channel audio file on one audio track. This is very con- venient and keeps the files aligned so they don’t go out of phase. Below is an example of recording with a 5.1 bus. Recording with 6 mono input busses You can however create separate mono busses for your

5.1 inputs. This allows for greater flexibility in terms of

routing, EQ, effects, etc. Below is an example of recording with 6 separate mono busses. Let’s show you how to record in surround sound using separate mono busses.

1. Right-click on our “5.1 In” bus and select “Remove

2. Click the “Add Bus” button. Choose “Mono” for con-

figuration and “6” for count and click “OK”. This will add 6 separate mono busses that we will configure as a sur- round input setup.

3. Click in the Device Port column for the busses and se-

lect the desired inputs on your audio card from the context menu. Since 5.1 surround requires 6 individual inputs, make sure you select 6 separate inputs in the Device Port column.

4. Rename the inputs “Left”, “Right”, “Center”, “LFE”,

“Left Surround” and “Right Surround”. That’s it for the “VST Connections” window. You are now ready to set up your tracks. GS_Nuendo_GBDF.book Seite 71 Montag, 17. März 2008 2:50 1472 Tutorial 7: Surround production Setting up a surround mix We have our inputs and outputs set up in the “VST Con- nections” window, now we need to set up the tracks in Nu- endo so that they’ll be properly named, have the right inputs and will output the audio correctly to our audio card. Setting up the track inputs

1. Close the “VST Connections” window and create 6

2. Rename the tracks “Left”, “Right”, “Center”, “LFE”,

“Left Surround” and “Right Surround”. Remember that naming your tracks before you record is the recom- mended way of recording. This allows your audio files to have proper names like “Left Surround_01” and “LFE_01” instead of “Audio 07_09” which can lead to confusion.

3. We now need to give each track its proper input. Set

the track named “Left” to the “Left” input on the “Input Routing” pop-up menu. Set the track “Right” to the “Right” input and so on. At this point we’ve made a lot of changes to our tracks. Feel free to load the project called “Surround 3” found in the “Tutorial 7” folder. This will make sure your project corresponds to this tutorial.

1. Open the “Output Routing” pop-up menu for each of

the tracks and assign them to their corresponding outputs. “Left” to the “Left” output, “Right” to the “Right” output, etc.

• Alternatively you can select the “5.1” output for each of the tracks.

• In this case you could have a surround panner for each track. Make sure you look up the chapter “Surround Sound” in the Operation Manual for more detailed information on the surround panner. We now have all the inputs and outputs set up. Move on to the next section for information on surround recording.

Load the project called “Surround 3” found in the “Tutorial 7” folder. Step 1 - Select the track. Step 2 - Open the “Output Routing” pop-up menu and select the output for the track. GS_Nuendo_GBDF.book Seite 73 Montag, 17. März 2008 2:50 1474 Tutorial 7: Surround production Recording in surround We are now ready to record in surround sound. This means we are going to record 6 channels at a time. These channels are routed to the 5.1 output we’ve set up in the “VST Connections” window. We have 6 mono inputs as the inputs. We could have used one audio track that is configured as a 5.1 track as discussed previously, but us- ing 6 mono tracks allows us flexibility for future changes and edits.

• The basic recording procedures are described in the chapter “Tutorial 1: Recording audio” on page 24. For more detailed information see the “Recording” chapter in the Operation Manual. Behind the scenes we have 6 channels of audio (a sur- round sound mix) coming in our 6 mono inputs. You’ll be able to hear this once you load the next project.

1. Activate the “Record Enable” and “Monitor” buttons for

2. Make sure “Cycle” is turned off (not highlighted) and

that you are starting recording at bar 1.

3. Click the “Record” button to record.

4. Click the “Stop” button when you are finished record-

5. Turn off the “Record Enable” and “Monitor” buttons for

all the tracks so that we don’t hear the inputs or record on the tracks any more. Congratulations! You have just recorded a 5.1 mix in Nu- endo. Move ahead to the next section to learn how to ex- port a surround file. Exporting a surround file Now that we have a surround mix recorded, we will want to export it so that we can import it into another program such as a DVD authoring application.

• Before we can export the surround mix to another pro- gram, we need to tell Nuendo how many bars to export. We accomplish this by setting the locators.

Load the project called “Surround 4” found in the “Tutorial 7” folder. Record Enable Monitor

1. Set the left locator to bar 1 and the right locator to bar

26 on the Transport panel. This will make sure we have all the music for export.

2. Next, open the File menu, and on the Export submenu,

select “Audio Mixdown...”.

3. The “Export Audio Mixdown” dialog opens.

This is described in detail in the chapter “Export Audio Mixdown” in the “Operation Manual”. Please refer to this for more complete information.

4. “File Name” is for naming the file for export. Let’s name

ours “Surround Tutorial Export”.

5. The “Path” is where you wish to save the exported file

on your computer. Use the “Choose” button to navigate to the folder you wish to save to. For convenience, there is the option “Use Project Audio Folder” which stores the exported file in your project’s audio folder. This is one of the best places to keep it, so it won’t accidentally become erased or lost. Make sure “Use Project Audio Folder” is activated for this export.

6. Normally you’ll want to save your exported file as a

“Wave File” under “File Format”. This of course chiefly de- pends on what file format the other application such as a DVD authoring program requires. Left Locator Right Locator GS_Nuendo_GBDF.book Seite 75 Montag, 17. März 2008 2:50 1476 Tutorial 7: Surround production

7. You can choose whether you want a complete 5.1 ex-

ported mix by selecting “5.1 Out (5.1)”. This means the exported file will be generated through the main 5.1 out- puts that we see in the Mixer. You can also choose the in- dividual outs of each audio channel for flexibility in your export. Let’s choose “5.1 Out (5.1)”.

8. Choose the “Sample Rate” and “Bit Depth” that will

be required for your export.

9. Select the three options in the bottom left corner as

these will import the audio back into Nuendo after you ex- port it and automatically create an audio track. The “Export Audio Mixdown” window will also close after export.

10. When you are done making all your settings, click the

11. You will now see your newly exported surround mix on

one audio track as a 5.1 multiple channel audio file. Individual audio channel export

Load the project called “Surround 6” found in the “Tutorial 7” folder to see the results of this export. GS_Nuendo_GBDF.book Seite 76 Montag, 17. März 2008 2:50 1411 Tutorial 8: Editing audio II - tempo and groove GS_Nuendo_GBDF.book Seite 77 Montag, 17. März 2008 2:50 1478 Tutorial 8: Editing audio II - tempo and groove Background In this section we’ll walk you through various examples of audio files that have no tempo information and will show you how they can follow the project tempo of Nuendo in a few simple steps. Example 1: Drum loop, tempo known In this example we have imported a drum loop and we know its tempo. This is one of the quickest ways to match the tempo of the drum loop with the project tempo. Here we have a drum loop and we know its tempo, 100 beats per minute. The project tempo of Nuendo is 120bpm, different from the drum loop. We are going to set the tempo of the drum loop to match the project tempo.

1. Activate Start on the Transport panel.

You will hear that the drum loop is off time with the click.

2. Activate Stop on the Transport panel and deactivate

3. Double-click on the drum loop and the Sample Editor

4. Click on the Definition tab, and in the tempo field,

enter 100. This way Nuendo knows that the tempo of this audio file is 100bpm. With this information Nuendo can then time stretch the audio properly. In addition to typing in the tempo, you can type in the number of bars - whatever is known. In both cases, the audio will be stretched properly.

The drum loop is now matched to the tempo of the project.

6. Close the Sample Editor.

7. Select the drum loop in the project window and select

Loop Selection from the Transport menu. You can also use the corresponding key command [Shift]+[G]. You can now hear that the drum loop is in perfect time with the project tempo. Feel free to change the tempo on the Transport panel by deactivating the Tempo Track. The drum loop will follow. Example 2: Drum loop, Auto Adjust In this example we have imported a drum loop and we do not know the tempo. This is one of the quickest ways to match the tempo of the drum loop with the project tempo.

1. Activate Start on the Transport panel.

You will hear that the drum loop is off time with the click.

2. Activate Stop and deactivate the Click.

3. Double-click on the drum loop.

The Sample Editor will open.

4. Click on the Definition tab and activate Preview.

Activating Preview allows you to hear any tempo changes directly.

5. Zoom in on the first bar.

You can use the zoom slider on the bottom right. Zoom in so that you can see about 18 waveform shaker hits. Activate Preview

6. Select the first bar of the loop (the first 16 hits, up to

the 17th). Activate Audition Loop and click the Audition button.

7. As you listen back you may need to tweak the end of

the loop to get it to loop smoothly.

8. Zoom out and click Auto Adjust on the Definition tab.

9. Close the Sample Editor and listen to the loop play in

time! Example 3: Drum loop, Manual Adjust This builds on what we have learned already in the previ- ous examples. In this example we have a drum loop of un- known tempo and with timing issues that need to be corrected. You will learn how to manually correct this by adjusting the Timing Grid in the Sample Editor.

1. Activate Start on the Transport panel.

You will hear that the drum loop is off time with the click.

3. Double-click on the drum loop.

The Sample Editor will open.

4. Open the Definition tab and activate Preview.

Activating Preview allows you to hear any tempo changes directly.

5. Enter the number of bars the drum loop’s length

equals. In our case it’s 4. The drum loop is now matched to the project tempo.

6. Activate Playback on the Transport panel.

You will hear that the drum loop doesn’t exactly match with the Click. It’s close, but not exact. This is because the loop has timing variations. Let’s correct them. Audition Loop Audition Auto Adjust

This allows us to manually adjust the Timing Grid to correct any timing variations.

8. Zoom in to the bars of the drum loop. In our case it will

9. Hold down [Alt]/[Option] and move the bar Grid lines

close to the beginning of the attacks of the waveform dis- play. Make sure you are only moving the Grid lines that are on Bars 2, 3 and 4. You should see the flag “Stretch Pre- vious - Move Next” appear. Holding down [Alt]/[Option] and moving the Grid lines at bar positions allows us to change the tempo of the previous bar while the following bars will be moved.

10. Now hold down [Ctrl]/[Command] to move the beat

grid lines close to the beginning of the attacks of the waveform display. Zoom in to line up the beat grid lines exactly. Do this for the entire drum loop in all the locations that appear to be off time.

Load the project called “Tempo and Groove 4” found in the “Tutorial 8” folder to see the bar grid line ad- justments. Click on the Definition Tab in the Sample Editor and activate Manual Adjust.

12. Click on the drum loop and select Loop Selection from

the Transport menu. You can now hear that the drum loop is in perfect time with the project’s tempo. Feel free to change the tempo on the Transport by first deactivating the Tempo Track and notice that the drum loop will follow. Example 4: Working with selections In this example we have an audio file with unknown tempo. We only want to use a small section of the audio file to create a drum loop.

1. Activate Start on the Transport panel and hear that the

drum loop is off time with the click.

2. Activate Stop and deactivate the Click.

3. Double-click on the drum loop.

The Sample Editor will open.

4. We are going to create a 2-bar loop from this audio

file. Make sure the Range Selection tool is selected. Click and drag to make a selection to a portion of the audio file that you will use as a drum loop. Somewhere just after bar 5 and just after bar 7. To get the selection to match our example click on the Range tab and enter 411427 in the Start field and 616843 in the End Field.

5. Click on the Hitpoints tab and choose Slice & Close.

You now have a loop that is cut to the selection you made and can now loop to the project tempo. The Sample Editor will close and you will be returned to the Project window.

6. Click on the drum loop and select Loop Selection from

the Transport menu. You can now hear that the drum loop is in perfect time with the project’s tempo. Feel free to change the tempo on the Transport by first deactivating the Tempo Track and notice that the drum loop will follow.

Load the project called “Tempo and Groove 6” found in the “Tutorial 8” folder. Range Selection tool Range tab Hitpoints tab Slice & Close GS_Nuendo_GBDF.book Seite 82 Montag, 17. März 2008 2:50 1412 Tutorial 9: Media management GS_Nuendo_GBDF.book Seite 83 Montag, 17. März 2008 2:50 1484 Tutorial 9: Media management Background The MediaBay is an area in Nuendo that helps to find, identify, tag and organize your sounds (VST 3 Presets and track presets), audio/MIDI loops, video and project files. You’ll hear and read about two different terms associated with the MediaBay: VST Sound and MediaBay. VST Sound is the overall concept of managing the ever- growing number of plug-ins, instruments, presets, etc. The tool that links all of the plug-ins, instruments and presets together is the MediaBay. Why is the MediaBay important to me? The MediaBay:

• Provides different views allowing you to find and tag media files, quickly import media files into projects. Media files in- clude: audio files, MIDI files, MIDI loops and video.

• Allows you to find sounds easily so that you can begin working on your music quickly without endlessly searching for the ‘right’ instrument.

• Allows you to find and apply audio, MIDI and instrument pre- sets quickly to your tracks.

• Shows you all of the Nuendo project files that are on your computer to quickly load them.

• MediaBay frees you from thinking in a folder structure or by in- strument. Just think about the sound you are looking for and find it across your entire library. MediaBay, Loop Browser and Sound Browser There are three menu options on the Media menu that al- low you to call up the various MediaBay views. It really doesn’t matter which one you pick as they all pro- vide the same functionality. The reason you would pick one from the other is that they have various buttons and features turned on or off so that you can easily find what you are looking for. For example, if you are looking for loops you would select the Loop Browser as this has been pre-configured for searching specifically for loops. Or if you were looking for Track Presets or VST Plug-in Presets, the Sound Browser would suit you best. To open the MediaBay We are going to use the MediaBay view as this view has been pre-configured to allow all of the controls by default to be visible. Everything we learn in the MediaBay can be applied to the Loop or Sound Browser.

click on the Category tab. The MediaBay by default opens with the Details tab activated. For the purpose of this tutorial, the Category tab will be needed. Making visible the different sections of the MediaBay At the bottom left hand side of the MediaBay window there are 3 buttons allowing you to show/hide the different MediaBay sections. These are:

1. Hide the Browser, Scope and Tag Editor sections.

We are left with the Viewer display and Filter section. These two sections allow us to view and find files.

3. Show the Scope section.

The Scope section allows you to view and play back files selected in the Viewer section.

4. Show the Tag Editor section.

When a file is selected in the Viewer section, you can view and/or assign tags to the file to make organizing and searching for the file easier. Scanning with the browser When you open the MediaBay, the Loop Browser or the Sound Browser, a scan for the media files is performed. Specify which folders or directories should be included in the scan by activating their check boxes to the left of the name. The result of the scan is saved in the MediaBay da- tabase. Physical and virtual scanning locations There are 2 different locations that you can scan for media files on your computer. The File system location and the VST Sound location. File System The File system locations are the physical or actual loca- tions on your computer. These locations include local and removable disks such as hard drives, external drives, CD or DVD-ROM drives, etc. By default File system is checked, however, it contains many locations you would not want scanned. Be sure to check which areas/folders you want MediaBay to manage. The areas/folders that you pick will automatically be scanned and the result of that scan can be seen in the Viewer section. VST Sound The VST Sound locations are the virtual locations on your computer to any factory content or user presets created for plug-ins, instruments or MIDI-loops. Make sure that this is not turned off. Choosing scanning locations Generally you’ll want to make sure that VST Sound is al- ways checked since this is the factory content or content that either came with Nuendo or other compatible product such as Steinberg’s Sequel. This is also the location of any user presets that were created. Click here to show/hide the Scope section Scope section Tag Editor section GS_Nuendo_GBDF.book Seite 86 Montag, 17. März 2008 2:50 1487 Tutorial 9: Media management

1. Click the plus symbol on File system to reveal its scan-

ning locations. These are the physical locations on your computer that you can specify so that MediaBay will search for media content. Be sure to check the ar- eas/folders that you want the MediaBay to scan.

2. Click the plus symbol on VST Sound to reveal the

scanning locations found there. There are many locations that do not need to be checked. Spend the time un-checking the locations you feel do not need to be searched. By doing this the MediaBay is kept clean of any useless information which speeds up searches and general handling. If you are in doubt about any of the locations, don’t worry – just leave them checked. Selecting a location (folder) automatically initiates a scan and updates the database. Deep Results Before we begin the scan of all our media on the com- puter, make sure the “Deep Results” button is activated. Activating “Deep Results” will show any files inside the currently selected folder, as well as any sub folder in a “flat” view - as if they were inside the same folder. This al- lows you to look at your media files sorted by attributes, even if they reside in a complex folder structure.

1. Right-click on Media and select “Refresh” from the

context menu to begin scanning. This starts the scanning process and now the MediaBay is looking for media on your computer within the locations you have specified. Deep Results GS_Nuendo_GBDF.book Seite 87 Montag, 17. März 2008 2:50 1488 Tutorial 9: Media management Scanning indicator and status When the MediaBay is scanning for media on your com- puter, a visual indicator in the upper right hand corner of the Viewer section will be displayed. The scanning status for the individual folders in the Browser section is indicated by the color of the icons:

• A red icon means that this folder is currently being scanned.

• A light blue icon means this folder has been scanned.

• Orange folder icons are displayed when a scanning process was interrupted.

• Yellow icons are displayed for folders that have not been scanned. Searching for media Now that we have selected the folders on our computer and scanned for media we can now search for an audio file and drop it into our project. We are now going to shift our attention to the Viewer sec- tion. The Viewer section consists of two panes: the filter section at the top and below it, the Viewer display. For the purpose of this tutorial, we need to adjust the de- fault appearance of the filter section so that we can find the desired audio file easily. The filter section shows six tag columns. The first two col- umns from the left need to be changed as follows:

• Select “Category” instead of “Application Type” and “Sub Category” instead of “Category Post”.

1. Choose a main category from the filter section (like

“Drum/Perc”). This will show us any files that have been tagged with the category Drum & Perc. See “Tagging” on page 90.

This allows us to narrow down our search even more. There is a list of drum loops that are now available to us in the Viewer display with our filter criteria. We can simply drag and drop any of these audio files into our project. Al- ternatively we could use the Text Search field and search for a media file by name. Auditioning media with the Scope We have narrowed down our search to just drum beats and now we want to audition our results before we drop it into our project.

1. Show the Scope section and select an audio file from

the Viewer display. You will see the Scope display the audio file as a waveform. You can start, stop, pause and cycle the audio file to hear what it sounds like. You can also set the preview level. Play in project context It’s a good idea to hear our project playing while we audi- tion our audio loop.

2. Activate Play in Project context.

The loop will now play along with our project in the project tempo.

3. Activate Auto Play.

With Auto Play activated we can click on many different audio files in the Viewer display and audition them quickly.

4. Click Start on the Transport panel.

The project will begin to play and the audio files you have selected in the Viewer display will play along in time with the project.

5. Click on different audio files to find the one that works

best with the project. You can use the up and down arrow keys on your computer keyboard to quickly audition many files.

6. When you have selected the file you wish to use, drag

and drop it right into the project. You don’t have to click Stop, the project will continue to play and the Me- diaBay will stop auditioning the file automatically. Text Search field Click here to show/hide the Scope section. The Scope section displaying an audio file. Preview level (Volume) Start, stop, pause and cycle Play in Project context Auto Play GS_Nuendo_GBDF.book Seite 89 Montag, 17. März 2008 2:50 1490 Tutorial 9: Media management Tagging You are able to add musical tags to your media files so that you are able to quickly organize and find your media files for later use. Tagging also helps you to group large amounts of media into a more usable and searchable for- mat.

1. Show the Tag Editor section and select one or multiple

files in the Viewer section.

2. Select the Managed tab.

You can apply tags by clicking (double-clicking for Char- acter) in the field next to the attribute name. The next time you search for media using the search filters (category, sub category, style, etc.) you’ll see the media you have tagged appear in the viewer section along with the other similar tagged media. For even greater search capabilities and organization you can open the Manage Tags window and define even more tags for your media files. For further details refer to the MediaBay chapter in the Operation manual. Click here to show/hide the Tag Editor section. Attribute name Select the Managed tab Click here to open the Manage Tags window. GS_Nuendo_GBDF.book Seite 90 Montag, 17. März 2008 2:50 1413 Working with video GS_Nuendo_GBDF.book Seite 91 Montag, 17. März 2008 2:50 1492 Working with video Introduction In this chapter we are going to show you how to use video files and video tape machines with Nuendo. Nuendo is a full-featured post production media tool that is capable of dealing with video content in several ways. You can work with video and create complete soundtracks from within Nuendo. The soundtrack can then be rendered into a video file, recorded onto video tape or exported as an au- dio file that can be married to the video or film later. Virtual video playback The most common method of working with video in Nu- endo is using video files within the software to play video images in sync with audio and MIDI. Nuendo has its own window to display video (opened by pressing [F8]). This window can be resized to fit an entire screen or be very small and unobtrusive. To open the video playback window, select “Video” from the devices menu or press [F8]. A blank video window will appear. Once you have imported a video file and placed it in the project window, the video can be viewed in this win- dow. To resize the window, simply click and drag the lower right hand corner of the window to your preferred size. How- ever, when using the DirectShow playback engine, there are only three choices for the window size; tiny, small and big. The size of the DirectShow window can be changed by accessing the Device Setup dialog from the Devices menu. Select Video Player to see the choices of window size. The DirectShow window size options in the Device Setup dialog. Video playback engines There are three different playback engines that Nuendo can use to play video files.

• QuickTime (Mac and PC)

• DirectShow (PC only)

• DirectX Video (PC only) Which one to choose depends on your computer configu- ration and working preferences. The available video play- back engines are accessed from the Device Setup dialog. Typically, PC users can use the native Windows video en- gines DirectX and DirectShow without installing any addi- tional software. QuickTime requires installation of the QuickTime software in Windows. For Apple OS X computers, QuickTime is the only avail- able playback engine. It is installed with the operating sys- tem. Video file compatibility With so many types of video files, determining if one will work on your system can be confusing. The simple test for this is to open the video file with the native media player on your computer.

• For windows systems, open the video file with Windows Me- dia Player and see if it will play.

• For Apple OS X systems open the file with QuickTime and see if it will play.

If the native media player is able to play the video file back properly then Nuendo should also be able to use the video file in a project. If there is a problem playing the video file with the native player, you must either convert the file to a compatible type or install the necessary software on your computer to play that file type on your system. A great deal of confusion arises when trying to figure out why a video file will not play properly on a given computer. Understanding video files and how they work can alleviate much of this and lead to better use of your computer’s video capabilities. GS_Nuendo_GBDF.book Seite 92 Montag, 17. März 2008 2:50 1493 Working with video Container formats Video and other multi-media files come in a container for- mat. This container holds various streams of information including video and audio but also metadata such as syn- chronization information used to play back audio and video together. Data regarding creation date, authors, chapter markings and more can also be held within the container format.

• MPEG-2 (used for DVD authoring, can contain AC3 multi- channel audio as well)

• DV (used by camcorders, high resolution) These container formats are cross-platform compatible. They can be used on both Mac (OS X) and PC systems. Problems arise when the computer does not have the cor- rect software to decode compressed video and audio streams within the container file. You must also know the type of codec used to create the video file. Codecs Codecs are methods of data compression used to make video (and audio) files smaller and more manageable for computers. In order to play a video file, your computer must have the correct codec installed in the operating system to decode the video stream. Here are some of the most commonly used video codecs:

• MPEG-2 (often used for DVD encoding, also a container for- mat)

• DV (native to OS X computers, hi resolution)

• H.264 (for streaming Hi-Def video over the Internet)

• WMV (Windows video compression) If your computer does not have the right codec to play a particular video file, you will most likely be able to down- load the necessary software to install the codec onto your system. To find available codecs, visit Microsoft’s or Ap- ple’s web site and search for video codecs. Adding a video file to a project Adding a video file to your project is very straight forward once you know that you have a compatible video file. It is advisable to store you video files on a separate hard drive from your audio files if possible. This can help prevent data streaming problems when using hi-res video with many audio tracks.

1. On the File menu–Import submenu, select “Video

File…”. You may also open the Pool and click the Import button.

2. Locate and select the desired video file on your com-

3. Activate “Extract Audio” if you wish to also import any

embedded audio streams. If this is activated and there is no audio stream within the container file, you will get an error message, “No compatible audio stream found…”. Click OK and the video stream will continue to be imported. You may also extract the audio from any video file by selecting “Extract Audio from Video File” from the Media menu.

4. Activate “Generate Thumbnail Cache” if you wish to

create thumbnails during the import process. This may also be done after a video file is imported by selecting “Gener- ate Thumbnail Cache” from the Media menu. Be aware that displaying video thumbnails may use significant CPU resources.

5. Select the video file inside the Pool’s Video folder.

You may have multiple video files of various formats in the Pool.

6. Drag the video file into the Project window.

If you drag the video file into the Project window and a video track has not yet been added to the project, Nuendo will automatically create one for you and place the video file in the timeline at the insertion point.

7. Select one of the “Insert into Project” options from the

Media menu. You can choose to insert the video at the cursor position, at the left loca- tor, at a specific timecode number or at the origin time of the video file. The origin time can also be referred to as the timestamp of the video file. Most video files have a timestamp of 00:00:00:00. The use of a time- code burn-in window in the video can help place the file at the proper lo- cation. See “Tips” on page 98. Now that your video file is placed in the Project window’s timeline, you may play it along with other audio and MIDI data in the project. When you enter Play, and the cursor is within the boundaries of the video file, video will be dis- played in the video window ([F8]) and via other video hard- ware devices you may have configured in your system.

Part of the confusion lies in the names of both co- decs and container formats. Since many container formats have the same names as the codecs they use within the file, make sure to differentiate the con- tainer format or file type (.wmv, .mov, .dv etc.) from the codec used within it. GS_Nuendo_GBDF.book Seite 93 Montag, 17. März 2008 2:50 1494 Working with video When stopped, the current frame of video is displayed. If the cursor is to the left of the start of the video file, the first frame of the video will be displayed. If the cursor is to the right of the video file end point, the last frame of the video will be displayed. Video output devices Viewing video files on-screen in the video window may work just fine for many applications but often it is neces- sary to display video in a large format for viewing small de- tails and so others involved in the session can also see the video. Nuendo provides the ability to use several types of video output devices in order to accomplish this. The type of devices you can use depends on the configuration of you system and what platform you use. Multi-head graphics cards One of the most common methods available to both Mac and PC platforms is the use of multi-head graphics cards installed in the computer. Multi-head graphics cards allow more than one computer monitor to be connected to the card, in some cases up to four monitors on one card. The video output of Nuendo can be directed to one of these outputs and then displayed full screen on a computer monitor or HD television screen. Ö Instead of a single multi-head graphics card, it is pos- sible to use more than one graphics card to achieve the same results. The use of two dual display cards in one system (a total of four monitors) is a very common setup for film post-production systems. One output is dedicated to video only and the other three can be used for Nuendo and other applications. Different graphics cards support different types of outputs including standard VGA, DVI, S-Video and component video. These options allow you to choose the type of mon- itor you use for video. HD televisions and digital projectors provide the largest viewing screens but a normal com- puter monitor can function as a very high-quality video monitor as well. Dedicated video cards The use of a dedicated video capture and playback card is also supported in Nuendo. These cards are normally used in video editing systems to capture video to disk and dis- play it while editing. They usually have a high resolution and take some strain off the host CPU by providing video compression and decompression processing on the card. Ö The Decklink cards by Blackmagic Design are auto- matically recognized by Nuendo. Video will be sent di- rectly to its output. FireWire DV Output (Mac OS X only) On Mac OSX systems, you have the option to use FireWire ports on the computer to output DV video streams to exter- nal converters such as various camcorders and standalone FireWire to DV conversion units. These units can be con- nected to a television or projector for large format viewing. Video playback speed Nuendo supports adjustments to the playback speed of video files necessary to compensate for film that has been transferred to video via a telecine process. For detailed in- formation on video pull up/down, please refer to the Video chapter in the Operation Manual. Editing video Nuendo supports simple cut and copy style editing of video tracks. You can take a single video and copy it many times for the creation of mix variations. A video file may be trimmed using the event handles to remove a count down for instance. You may also lock video events in the same way as other events in the project window. It is not possi- ble to fade or crossfade video events. Ö Note that this functionality is limited to the DirectX and QuickTime video players.

You may have multiple video files of differing formats in the same video track of Nuendo. Assuming you have the proper codecs installed, they will all play to- gether in one project. There can only be one video track per project. GS_Nuendo_GBDF.book Seite 94 Montag, 17. März 2008 2:50 1495 Working with video Rendering audio into video files Once you have edited all audio and MIDI data to the video and created a final mix, you will need to put the new audio back with the video. This is described in detail in the chap- ter “Audio editing to picture” on page 99. You can do this by embedding the new audio in another stream within the video container file. This requires rendering of the video file again with a new audio stream.

1. Export the audio file you wish to render into the video

container file. Nuendo treats the rendering process in a separate step. You must first have both the audio and video files prepared before rendering them to- gether. Make sure you place the left locator at exactly the start of the video file in Nuendo before exporting the audio mixdown. This will ensure that your audio and video streams will be synchronized after rendering.

2. On the File menu, select “Replace Audio in Video

File…”. A navigation window will open prompting you to locate the video file.

3. Locate the video file you wish to render audio into.

Next, you will be prompted to locate the corresponding audio file. This should be the one you created in step 1.

4. Locate the audio file to be rendered.

A progress bar shows the status of the rendering.

5. Once rendering has completed, open the video file in

a native media player and check for proper rendering and synchronization. Video tape recorders The second method of working with video and Nuendo is through the use of external video playback hardware such as video tape recorders (VTRs). Video hard disk recorders also fall into this category and function in much the same way as tape machines. With this in mind, “VTR” will also refer to hard disk recorders for the purpose of this chap- ter. Whenever you are interfacing Nuendo with external hard- ware, some additional computer hardware may be neces- sary. In the case of using VTRs with Nuendo, a device capable of dealing with SMPTE timecode, word clock, video reference clock, MIDI machine control and Sony 9- Pin machine control protocols will be needed. Nuendo must be able to send and receive transport com- mands to and from the VTR. Speed and position informa- tion in the form of word clock, video reference clock and SMPTE must also be fed into Nuendo and the audio hard- ware. Synchronization and Machine Control The most important aspect of working with VTRs is the ability to maintain the best possible synchronization be- tween Nuendo and the tape machine. Regardless of your hardware setup, Nuendo will have to be configured to synchronize with the VTR using the Project Synchronization Setup dialog.

2. Select your timecode source.

In most cases, the VTR will supply the timecode. This can be read by de- vices like Steinberg Timebase or via Sony 9-pin. Third party TC readers can convert incoming timecode in the form of LTC or VITC to MIDI time- code (MTC) as well.

3. Select your Master Machine Control device.

This is the main external device you are synchronizing with.

4. Make settings for the VTR.

This includes selecting the correct ports. In order to record-enable tracks on the tape machine, you must configure how many audio tracks are available. Most professional VTRs have four audio tracks available.

5. Set the Master Machine Control Preferences.

There are several preferences to select that will determine how the ma- chine control device will behave.

The Project Setup dialog is opened.

8. Set the Project SMPTE frame rate.

The frame rate should be the same for all devices in the synchronization setup. Mixing different frame rates may lead to unpredictable results.

9. Set the correct audio pull up/pull down setting.

Audio pull up/down controls are used to compensate for speed changes in the video that result from the transfer process from film. (See the Op- eration Manual for more information) GS_Nuendo_GBDF.book Seite 95 Montag, 17. März 2008 2:50 1496 Working with video

10. Adjust the Project start time and the time display op-

tions as needed. If the video starts at 01:00:00:00, the project start time could be 00:59:00:00. This eliminates much blank space before the start of the project but allows for things such as test tones and pre-roll of tape ma- chines.

11. Click OK to apply your settings and close the dialog.

12. Activate Synchronization by clicking the Sync button

in the Transport panel. This changes the nature of the transport controls by having them send machine control commands to the tape machine which then will send timecode back to Nuendo and Nuendo will start playback in sync with in- coming timecode. This system is intelligent and is designed to appear trans- parent to the user. When sync is activated, any transport moves you would normally make in Nuendo, such as mov- ing the cursor around the Project window, pressing re- wind or return to zero buttons, are immediately turned into machine control commands to locate the tape machine to specific positions. Even shuttle and scrub actions do this. Once both Nuendo and the tape transport have located to the same position, playback can begin on the tape ma- chine which then will send the corresponding timecode out for Nuendo to synchronize to. Ö In the Device Settings section for each 9-pin device in the Project Synchronization Setup dialog there is the op- tion “Displays Follow Locating Device” which will make the cursor position follow the actual tape transport as it moves physically to the locate position. This gives you feedback about the tape transport and what it is doing and when it will be ready for playback. When tape ma- chines are located remotely in a dedicated machine room of a studio facility, having this visual feedback can be very helpful. Once the Project Synchronization Setup has been config- ured, you should test the system to ensure that audio and video are properly in sync. A reference mix from the video can be helpful for this. Record the audio from the VTR into Nuendo. While listening to the original audio on the VTR and the recorded audio in Nuendo, playback the system and see if you notice any drifting in the audio between the two sources. This will give you an idea of how accurate the sync is. There should be no drift whatsoever in a prop- erly configured system. Layback to tape Machine control also allows you to record-enable tracks of the remote machine. This allows you to record your final mix back on to video tape when you are finished. This pro- cess is often referred to as “laying back to tape” or simply “layback”. Two things are needed to perform a layback:

1. Arming of the necessary audio tracks.

This could be as simple as two tracks for stereo or eight tracks for a 5.1 surround mix plus a stereo downmix on tracks 7 and 8. In film mixing it may be necessary to record 24 or more mixdown tracks known as “stems”. Any number is possible.

2. The timecode values to start and stop recording on

the tape machine will need to be defined. You could manually punch in and out on the remote machine but using specific timecode numbers allows more precision and even going back and punching in sections that need remixing later without disturbing the rest of the sound track. VTRs have two basic record modes:

• Insert Auto-Edit allows you to perform an automated punch-in and punch-out on selected tracks of the VTR. The VTR is played and using the left and right locators in Nuendo, will enter record at the left locator and go back to play (punch- out) at the right locator. Since VTRs need a certain amount of time to get up to proper speed for playback, the Auto-Edit function allows you to start playback prior to the desired punch-in point, allowing for pre-roll. Precise edit points make it possible to record only a specific portion of the program material if needed for a correction or alteration to the overall project. When working on a feature length film that takes over an hour to layback, a quick edit in the middle can save a lot of time in the studio.

Insert mode records ALL tracks on a VTR at the same time (including the video and timecode tracks!) and is usually not used for audio layback. GS_Nuendo_GBDF.book Seite 96 Montag, 17. März 2008 2:50 1497 Working with video Preparing an audio layback Once you have completed the editing and mixing of a soundtrack for a video or film, inserted any required test tones and 2-pop, you are ready to layback the mix to a tape machine. Depending on the type of machine control you are using (MMC or 9-pin) the steps required are slightly different.

1. Set the left and right locators at the start and end of the

complete soundtrack. If you need to record test tones of any sort, include these in this selec- tion. Typically, program video (what the audience actually sees) starts at 01:00:00:00. Any test tones or countdown audio would happen prior to that, yielding a start time of perhaps 00:59:00:00. You may wish to also leave some blank space at the very end of the program in order to avoid clipping any audio when the tape machine punches out.

2. Synchronize Nuendo to the tape machine using ma-

chine control. If the Project Synchronization Setup dialog has been properly config- ured, this should be as simple as engaging the sync button in the Trans- port panel. To accurately layback audio to an external tape machine, Nuendo must be synchronized to the tape machine via timecode and a clock source such as video sync or word clock from a hardware synchro- nizer. This will ensure that audio remains in sync with the video on the tape machine throughout the layback process. Nuendo must be enabled to control the transport of the layback machine via MMC or 9-pin con- nections. Ö In many cases, the only time you would need to syn- chronize Nuendo with a tape machine is for audio layback. Editing usually goes much faster when using a reference video file within Nuendo. For this reason, make sure the synchronization settings are correct and working properly during this important step.

3. Position the Project cursor somewhere before the left

locator. Leave enough time for the tape machine to get up to speed (pre-roll) prior to the punch-in point at the left locator.

4. Using either the MMC or 9-pin machine control Trans-

port panels, record-enable the proper tracks on the tape machine. Depending on the tape machine and mixdown format, you may need to enable six audio tracks or more for a surround mix and alternate down- mixes. The machine control transport should have all available tracks shown on the left side. The MMC Master control transport with six out of eight tracks record- enabled, ready to layback a 5.1 surround mix.

5. For MMC machines, make sure to activate both the

punch in and punch out buttons in the Transport panel. When the cursor reaches the left locator, a record command will be sent to the MMC device, placing it in record on the enabled tracks. Once the right locator is reached, the deck will punch out. The punch-in and punch-out functions are enabled on the Transport panel. It is not necessary to use pre-roll so long as you start with enough time for the tape transport to come up to speed before the punch-in point. A pre-roll would do the same thing though.

6. For 9-pin control, enable the Auto Edit function.

Many video tape machines that have 9-pin control use the Auto-Edit function as a way to punch-in on only certain tracks of the tape machine. Insert Edits will record on all tracks at the same time and will cause era- sure of both video and timecode on the tape. The Auto-Edit function has been turned on for this 9-pin device allow- ing Nuendo to punch-in on selected tracks of the video tape machine.

7. Make sure the outputs of your sound card are routed

to the inputs of the tape machine. For those using the Control Room features, remember that the Main outs of Nuendo should be separate from the Control Room speaker outputs to avoid double-bussing and possible overload conditions. See the Con- trol Room chapter in the Operation Manual for more information. GS_Nuendo_GBDF.book Seite 97 Montag, 17. März 2008 2:50 1498 Working with video

Nuendo will start playback on the machine control device which will then send timecode and clock data back to Nuendo. Nuendo will then play- back in sync with the tape machine and at the left locator, the tape ma- chine will enter record on the enabled tracks. At the right locator, recording will stop. You can then stop the transport at any time. During the layback process, try to watch video coming di- rectly from the tape machine while listening to the audio outputs of the tape machine to ensure that proper sync has been maintained. If that is not possible, make sure to view the video afterwards to double-check. Once the pro- gram has been reviewed for errors, layback is done and the master can be delivered. Nuendo has the capacity to have two 9-pin devices and up to 127 MMC devices connected at the same time, pro- viding a multitude of options for tape machine control. Multiple transports may be synchronized with Nuendo at one time, allowing Nuendo to be the machine control hub in a complex system of tape machines typically found in film dub stages. Since Nuendo may also function as a MMC slave device, it can be integrated into an existing machine control sys- tem very easily. A second Nuendo system can take the place of a stem recorder. With an extremely large number of tracks available to even a modest Nuendo system, all the stem tracks of a feature film could be recorded to a second Nuendo system in one pass, given the right amount of IO on each system. Tips There are so many variables within the boundaries of a multi-media project that only years of experience can cope with all of them. However, here are a few tips and good ideas you can use to help eliminate some common issues. Pre-production planning The single most important tip for making post-production go smoothly for a TV commercial, feature film or even in- ternet media creation is good use of pre-production plan- ning. Try and meet with all the people involved in a project prior to starting in order to decide how the work will flow once you get into post-production. Determining frame rates for film and video, film transfer issues, what format the location audio will be recorded in, delivery formats and other details including a working copy of the script will be invaluable to any post-production audio professional. TC Burn-In The timecode burn-in window (BITC) is a section of the video image that contains timecode numbers for each frame of video from the original video editor. Using this, it is possible to align a video perfectly in Nuendo so that all the timecode numbers line up exactly. BITC is created by the video workstation and is perma- nently rendered into the video. Certain hardware such as Steinberg’s Timebase have the capacity to insert a time- code window into a video signal in real time. However, hav- ing a permanent rendering of the original timecode from the video workstation is the most concrete reference possible. If there is any question regarding the timecode values of a particular video, the timecode burn-in eliminates the chance for error when editing audio to picture in Nuendo. Timecode burn-in window in a video image. GS_Nuendo_GBDF.book Seite 98 Montag, 17. März 2008 2:50 1414 Audio editing to picture GS_Nuendo_GBDF.book Seite 99 Montag, 17. März 2008 2:50 14100 Audio editing to picture Introduction Nuendo has been designed from the ground up as a pro- duction tool with features that are catered to working with video and film. The depth and versatility of Nuendo’s de- sign allow you to work very precisely and yet retain the freedom and ease that allows greater creativity in creating music and sound design for film and video. In this chapter, the editing tools in Nuendo will be dis- cussed as they relate to video post-production techniques. In the section “Operations” on page 106, these tools will be applied in real world situations that you would encounter while working with video. Finally, there will be a quick dis- cussion of how to use the Time Warp feature to create tempo maps that are synchronized with video for use in scoring music to picture. Video timeline and the grid When working with video, every audio event and part is synchronized to the picture. Unlike music editing with an even grid of bars and beats to work with, video uses a much smaller increment of time as a basic grid: video frames. Since there are a finite number of video frames in each video, the frame becomes the basic measuring block for editing. Video frames are numbered using SMPTE timecode. De- pending on the frame rate of the video, there will be a cer- tain amount of frames per second and then 60 seconds per minute, and 60 minutes per hour. SMPTE is displayed using colons to separate each division of time. The SMPTE display from the Time Display window showing 1 hour, 3 minutes, 47 seconds, 12 frames and 25 subframes. Film frames can be displayed as SMPTE numbers or in feet and frames (a traditional method used by film editors). Nuendo also offers a user-definable frame rate for special- ized frame rates including vari-cam HD video. For more in- formation on all the frame rates and time displays available, refer to the Operation Manual. Subframes and days Nuendo can also display the time between frames by us- ing the subframe division which divides each frame into 100 subframes. Subframes appear separated from frames by a period. In order to see subframes displayed you must activate “Show Timecode Subframes” in the Preferences dialog (Transport page). If this is activated, subframes will be displayed everywhere that timecode is shown including the Transport panel, Project window, dialogs, Project Browser, Pool and the SMPTE Generator plug-in. In case a project crosses the 24 hour mark, Nuendo will au- tomatically display a day number to the left of the SMPTE display separated by a space, no colon. It can be necessary to use days in timecode even when the project is shorter than 24 hours. For example, during live events that take place in the evening, if the central timecode generator for the event is running “time-of-day” SMPTE that correlates to the actual time on the clock, it can very easily cross the 24 hour mark at midnight if the event goes that long. In that case, all timecode values after midnight will have a “1” dis- played in the days position. Time-of-day SMPTE that has crossed midnight or the 24 hour mark shows the day number “1” to the left of the SMPTE value. Note that subframes are not displayed in this image. Drop-Frame SMPTE Drop-frame timecode is used for the 29.97 frame rate used by the NTSC video standard. Since this frame rate does not correlate exactly to the actual time passing on the clock, a system has been devised that omits certain frame numbers in order to match the displayed time with the time of day. Nuendo distinguishes this frame count by separat- ing the frame number with a semi-colon instead of a colon.

Make sure that the frame rate of the project matches that of the video you are using in the Project Setup dialog. It is possible for Nuendo to detect the video frame rate for you. See the Video chapter in the Op- eration Manual. GS_Nuendo_GBDF.book Seite 100 Montag, 17. März 2008 2:50 14101 Audio editing to picture When you see timecode displayed anywhere in Nuendo with a semi-colon, you are using drop-frame timecode. This is the only indication besides looking at the Project Setup dialog, that you are using drop-frame timecode. Drop-frame SMPTE timecode display with frames separated by a semi- colon. When the Project window’s time display is set to time- code, the grid options change. The choices are:

• Subframe (1/100th of a frame)

• 1 second These grid options allow editing, nudging and moving of events, fades and automation data in increments that re- late to the video frames you can see. Understanding the divisions of time for video and how they are displayed in Nuendo will help you quickly utilize all of the editing features with precision and ease. Inserting audio into the project From the Pool, it is possible to insert audio events by dragging them into the Project window or by using the “In- sert into Project…” options from the Media menu.

• “At Timecode Position” allows you to specify the exact time- code number where an audio event will be placed.

• “At Cursor” will place the audio event at the current location of the cursor. This method can help you place events quickly by placing the cursor at the point in the video where you want to put an audio event. Using scrub, markers and other transport techniques to get the cursor into position can make it faster than manual timecode entry.

• “At Left Locator” will position the audio event at the left loca- tor. Since you can adjust the position of the left locator quickly and on the fly while playing, this method allows you to place audio while the project and video are still playing. Follow ac- tion scenes and place the left locator at key points while view- ing the video. While Nuendo keeps playing on, you can insert an audio event back where the left locator is without stopping the transport.

• “At Origin” will place an audio event at its original timestamp position. Since many audio files can be transferred between video editing systems and Nuendo, using timestamps created by other systems can increase the speed and efficiency of po- sitioning those audio files at the correct timecode positions in Nuendo. All of these options can be used with video to place audio events precisely at the video frame you choose. But that is just the beginning. Using the Markers window as a spotting list A spotting list is created by viewing a film or video and de- termining where certain sound effects and other audio el- ements will go during post-production. The list consists of timecode values and descriptions of the sounds that will go there. For example: In this list, there are three timecode locations and various sounds that are needed at those points in the video. Dur- ing editing, sound effects could simply be placed using these timecode values and be relatively close to final posi- tion without much effort. To make it even faster, use the Markers window as a spotting list. As you view a video in Nuendo, have the Markers window open and as you “spot” places where sound effects need to go, add a Marker by clicking the Add button in the Markers window or simply hitting the Insert key. With the Markers window open, you will see the newly created marker in the list and the description field will be active, ready for you to type in a description of the sound. Once you complete the description and enter it, you can create another marker in- stantly, making it possible to create an entire spotting list on-the-fly in Nuendo. TC Description 01:07:36:15 footsteps on concrete 01:07:53:02 telephone rings 01:08:06:07 explosion outside GS_Nuendo_GBDF.book Seite 101 Montag, 17. März 2008 2:50 14102 Audio editing to picture After importing sound effects from a library or field record- ings, they can be placed in the project using the Insert at Cursor option, moving the cursor to each marker by click- ing in the very left column of the Markers window next to the desired number. The Markers window used as a built-in spotting list. While the positioning of the audio events in this case might not be exact, it will quickly get audio in close proxim- ity to the needed position. Fine tuning can be done later with other editing tools and features. Event handles The event handles (fade in, fade out and volume) are ex- tremely useful for working with picture since their func- tions are tied to the event itself, when the event moves, so do the fades and volume level. Since the event fades and volume are handled in real time, you can hear the results of your edits instantly. So long as you have let go of the event handle before the cursor reaches the event during playback, you will hear the result of your edit. Being able to edit while playback continues gives you more time and freedom to work while others are still listening to the playback. Event envelopes For even more control, the event envelope provides an- other type of volume control over the audio event. Instead of controlling only fade ins and outs or the overall volume of the event, envelopes can alter the volume of audio any- where within the event. To access the event envelope, select the pencil tool and simply click within any audio event. A blue volume enve- lope line appears with a new curve point. Unity gain (no change) is where the envelope line is at the very top of the event. Any curve points below indicate gain reduction at that point. The waveform display reflects the change in volume for visual feedback as you edit. You can add as many curve points as you like by clicking again with the pencil tool, giving you the ability to contour the volume of the event very precisely. To remove a curve point, drag it with the pencil tool outside the event. An event envelope with several curve points. Notice that the volume curve with fades and the overall volume is still displayed. The combina- tion of the envelope and volume curve will determine the final audio level for each event.

One advantage to both the event handles (volume curve) and the event envelope is that their effects oc- cur prior to the audio signal entering the mix engine of Nuendo. For example, if you have a compressor plug-in on a track in Nuendo and you increase the volume of an event on that track by using the volume handle, the compressor plug-in will see a greater in- put signal, altering its gain reduction accordingly. This can be very advantageous when evening out levels in dialog tracks for example. GS_Nuendo_GBDF.book Seite 102 Montag, 17. März 2008 2:50 14103 Audio editing to picture Range selection Using the Range selection tool to edit audio to picture opens up many other possibilities and functionality. When you make selections with the Range selection tool, the info line displays the start, end and length of the selection. The length indication is a handy timecode calculator when the project timeline is viewed in timecode. The start and end track numbers are also shown, outlining the top and bottom of the selection. All the values in the info line are editable.

• Altering the start moves the selection without changing its length.

• Altering the end changes the length of the selection.

• Altering the length changes the end time to match the desired length.

• Altering the first track number will change the number of the topmost track in the selection.

• Altering the last track will change the number of bottom track in the selection. All tracks in between these two will be in- cluded in the selection. The info line while using the Range selection tool. Notice the top and bottom track numbers at the right of the display. It is also possible to select non-contiguous tracks in a range selection by [Alt]/[Option]-clicking within the bor- ders of the selection on the track you wish to add to the range. Only that track area will be added. This can be re- peated to add other tracks to the range. Non-contiguous range selection. The track placement of this data is retained in the clipboard. There are also functions that let you alter the range selec- tion using the cursor, event boundaries, left and right loca- tors and the start and end of the project. These functions are found in the Edit menu–Select submenu. When these operations are assigned to key commands, the increase in speed and efficiency for creating range se- lections can be improved:

• In Loop: This selects all areas between the left and right loca- tors on all tracks.

• From Start to Cursor: Creates a range selection from the start of the project to the current cursor position on tracks in the range.

• From Cursor to End: Creates a range selection from the cur- rent cursor position to the end of the project.

• Left Selection Side to Cursor (by default [E]): This command moves the left side of the range selection to the current cursor position. This can be performed during playback to “capture” a selection on-the-fly.

• Right Selection Side to Cursor (by default [D]): The compan- ion command to the above works in the same fashion only with the right side of the range selection.

• Range to Next Event: This command moves the range selec- tion to the next event boundary on any selected track. If no tracks are selected, the range will move to the next event boundary on any track. The range selection will have no dura- tion and will span the same tracks as the previous selection.

• Range to Previous Event: Same as above except the range is moved to the closest previous event boundary.

• Enlarge Range to Next Event: This command moves the end of the range selection to the next event boundary on selected tracks.

• Enlarge Range to Previous Event: This moves the start of the range to the previous event boundary on selected tracks. By using these commands in various combinations, it is possible to create range selections quickly based on event boundaries, cursor and locator positions, and on- the-fly “capturing” during playback. As you will see in the section “Operations” on page 106, these workflow im- provements can become indispensable for many post- production tasks. GS_Nuendo_GBDF.book Seite 103 Montag, 17. März 2008 2:50 14104 Audio editing to picture Range editing Once you have a range selection defined, there are many editing operations that can be performed to the selection. Some of these range edits have been designed expressly for post-production in order to streamline workflow and in- crease efficiency and creativity. Others include the stan- dard editing functions cut, copy paste; along with mouse operations to move selected audio.

• “Global Copy” does not use the range selection but rather the left and right locators to define what is to be copied. Global Copy will place every event on all tracks between the left and right locators into the clipboard. This includes all marker, auto- mation, Score, MIDI, and video data.

• “Cut Time” removes all events and blank space in the range selection, places it in the clipboard and moves all events after the selection to the left in order to close the gap.

• “Paste Time” will place the contents of the clipboard at the in- sertion point. All events will be moved to the right to make room for the clipboard material. All tracks of the clipboard will be pasted to the right and beneath the top left range selection. Non-contiguous selections will be placed on their correct tracks relative to the range insertion point regardless of the range selection. All you must do is select a zero duration range in the top track of your paste location and Nuendo will place all the clipboard contents at that point across all the same number of tracks that the clipboard contains.

• “Paste Time at Origin” will place the contents of the clipboard back at its original position and on its original tracks regard- less of the current range selection. All other events on those tracks will be moved to the right to make room.

• “Split” divides any event that crosses a range selection boundary into separate events.

• “Crop” will adjust the start and end of any event that falls within the range to the range boundaries. In other words, any portion of an event that falls outside of the range selection will be removed.

• “Cut Head” will remove any portion of events that fall to the left of the range selection.

• “Cut Tail” will remove any portion of events that fall to the right of the range selection.

• “Insert Silence” will put blank space on all tracks within the range selection. This functions in a similar way to Paste Time by moving events to the right to make room for the inserted space. The amount of blank space is determined by the length of the range selection.

• On the Audio menu there is also the “Adjust Fades to Range” command. If the range includes the beginning of an event, a fade in will be created from the event start to the right range boundary. If the range contains the end of an event, a fade out will be created from the left range boundary to the end of the event. If the range is within the boundaries of an event, both a fade in and fade out will be created from the event boundary to the range boundary. Adjust to Fades where event start is within range selection. Adjust to Fades where event end is within range selection. Adjust to Fades where range falls within an event.

Range Editing can affect any type of event in the Project window including video, MIDI, markers and automation data. When performing edits that affect the entire timeline (editing picture changes for in- stance) range edits can be very effective. GS_Nuendo_GBDF.book Seite 104 Montag, 17. März 2008 2:50 14105 Audio editing to picture Edit Mode When editing to video, it is always important to know how each edit relates to the exact frame of video where it oc- curs. Under normal conditions, performing event-based or range-based editing tasks take place without being able to immediately see the video while editing. Nuendo’s spe- cial “Edit Mode” solves this dilemma by making the video track follow the motions of editing operations in real time. Enable Edit Mode by selecting “Edit Mode” on the Trans- port menu. The Project cursor will disappear in the Project window except in the ruler at the top. Hiding the cursor makes it possible to see the events you are editing more clearly. Edit Mode functions differently when you are using the Arrow tool than with the Range Selection tool. Edit Mode: Arrow (“Object Selection”) tool When editing events with the Arrow tool, Edit Mode causes the video to follow your motions as you drag events and event handles. For instance, when you click and drag one or more events, the video will follow the left edge of the first event while you drag, giving you visual feedback on the po- sition in the video. This is very helpful while placing sound effects to picture since you can see things in the video as you move sounds around in the Project window. Lining up sound effects to their visual counterparts becomes quite easy and quick. Edit mode follows the snap point of each audio event. If the snap point has not been modified, it remains at the start of the event. It can often be necessary to align a por- tion of audio in the middle of the event. Adjusting the snap point to a position in the audio event that is timing sensi- tive will allow you to use Edit Mode to visually line up that position to the video. For example, the sound of a car skidding to a stop might be easily timed to picture by lining up the end of the skid sound with the stopping of the car in the video. The car might come into the frame after the skidding had begun thereby making it very difficult to align the sound quickly without a starting point reference. The snap point over- comes this problem by allowing you to reference another point in the audio event. By moving the snap point to the end of the skidding sound, edit mode can be used to line that point up with the stopped car onscreen. When adjusting fade handles, the video will follow the po- sition of the fade handle as you move it, allowing you to time fades exactly to the video. Edit Mode: Range Selection tool When making range selections, Edit Mode causes the video to follow the range as you make the selection. Even adjusting the range start or end will follow the video in the same fashion. Edit Mode: Nudge commands Nudging of events or range selections will also cause the video to move to the nudge position. All nudge commands (start, position and end) will have this behavior in Edit Mode. Text editing For extremely precise editing, text entry may be used to perform most editing tasks in Nuendo. The info line in the Project window gives you instant access to any selected event’s data including start and end points, duration, off- set, snap point, fade in, and fade out durations. Addition- ally, the Project Browser allows text editing of each event in the Project in a list view including automation data, video events and Markers. Text editing can be useful when conforming audio to edit decision lists (EDLs) created by video editors. A list of audio files will be shown with source and destination timecode values that can be used to place audio events in Nuendo. An EDL with source and destination timecode values. GS_Nuendo_GBDF.book Seite 105 Montag, 17. März 2008 2:50 14106 Audio editing to picture Operations In this section, several post-production tasks will be dem- onstrated using the various editing techniques available in Nuendo. Preparing a video project in Nuendo Since video files are used commonly, this example will start by importing a video into Nuendo:

1. On the File menu, select “New Project”.

If you use a template for video projects, select it from the possible choices. Otherwise start with a blank project.

Video tape machines use 48kHz as a standard sample rate. You may use higher resolutions depending on the project requirements but keep in mind that the final result will most likely be a 48kHz master recording.

4. Set the timecode frame rate.

This can vary widely depending on the type of video project involved. With NTSC, PAL, HD video, and film being some of the possible choices, hav- ing a clear understanding of the frame rate used is critical. Speaking with the video editor or other production staff about this in pre-production can save a lot of headaches later in the process. You can also extract the frame rate information from any imported video file in the Project Setup dialog.

5. Import a video file.

You can do this from the Pool or the File menu–Import submenu. You will also have the option of extracting any audio streams from the video file during this step. Even if you do not plan on using the embedded audio in the project, it is advisable to extract it and use it for reference purposes. You can also extract this audio later from the Media menu.

6. Place the video file in the Project window.

You can drag the video file from the Pool into the Project window and a video track will automatically be created if one does not exist. You may also use the Insert into Project options to place the video at the cursor position, a specific timecode value or at the timestamp embedded in the file. Ö Common practice is to place the first frame of program video starting at one hour (01:00:00:00). This helps out by leaving room prior to the video for test tones and for pre roll of tape machines including the count down and two-beep tone (a short beep sound used to indicate 2 seconds be- fore the start of the program). Most video files do not have a correct timestamp embedded in them. Unless the first frame of program video is easily identified visually, a time- code burn-in window should be used to correctly place the first frame of video. The idea is that the audio timecode val- ues exactly match those used by the video editing suite. You are now ready to start editing audio to picture. Conforming production audio The first step in any audio post-production project is prop- erly synchronizing production audio with the video. Produc- tion audio refers to any sound that was originally recorded during the filming or video taping process. The audio is then edited along with the video to create a final edited piece. The video editor may choose to add sounds and music along the way to get an idea of the finished product while editing. All of these elements should be brought over to the audio editing workstation for reference and possible usage in the final product. Audio coming from a video editing session can come in a variety of formats including:

• Reference audio that has been assembled and mixed in the video editing suite. This audio could possible be used in the fi- nal mix but usually is meant as a guide for audio editors. It may be embedded in a video file, as a separate audio file or re- corded on tracks of a video tape recorder (VTR).

• Multi-channel media in the form of OMF, AAF or other embed- ded media files usually contain multiple tracks of audio edited by the video editing suite.

• EDLs are lists of audio files that need to be imported into Nu- endo from source tapes (video tape, DATs or audio files cre- ated during the filming process). The process of editing and placing those audio files in sync with the video is known as “conforming” audio to picture. Once you have imported your video file or synchronized Nuendo with a VTR or other external video playback sys- tem, the next step is to get any reference audio imported and running in sync with the video. Reference audio With video files that have embedded audio streams, the process of importing the video will allow you to also import the audio stream as well.

• Use the “Insert into Project at Origin” command from the Me- dia menu to place the audio file in the project. GS_Nuendo_GBDF.book Seite 106 Montag, 17. März 2008 2:50 14107 Audio editing to picture

• If you have placed the video file at any other point than its ori- gin time (usually 00:00:00:00), the reference audio must be placed at the same position in order to line up. In that case, use “Insert into Project at Timecode Position…” and type in the same timecode number as the video file.

• You may also use the “Snap to Events” option and drag the audio file to within range of the start of the video file and it will snap into position exactly at the beginning of the video file. Once the reference audio file has been inserted into posi- tion, check the sync of audio to video throughout the length of the project to ensure proper synchronization. If there are any issues, it is best to fix them now before any extensive editing has occurred. Problems with timecode frame rates, sample rates and synchronization to external tape machines can wreak havoc on a production if they are discovered late in the process. Multi-channel media When the audio edited by the video editor is complex and has elements that will be used in the final project, multi- channel media interchange formats help get the audio from one workstation to another. Nuendo is capable of handling all of the currently used formats for this type of exchange. They include:

• AES31 This chapter will cover one of the most commonly used formats, the OMF file. OMF files come in two basic for- mats:

• Files with embedded audio contain everything in one file con- tainer that is easily copied from one location to another. Nuendo can read the information that tells it where to put each piece of audio and then refers to various parts of the OMF file for audio segments as if the OMF file is one very large audio file itself.

• Files that refer to external audio media contain only the informa- tion about where to place each piece of audio in the timeline. The audio files themselves have to be copied over separately in order for the OMF transfer to work. Each format has its strengths and weaknesses and the choice of which one to use will depend on the circum- stances at hand. For more information on OMF files, refer to the chapter “File Handling” in the Operation Manual. To import an OMF file into Nuendo, proceed as follows:

1. On the File menu–Import submenu, select “OMF

File…” and in the dialog that appears, select the OMF file. If the OMF file has embedded audio, it is advisable that it is stored on a local drive, preferably in the current project folder and should be treated as an audio file itself. It would need to be backed up in the same way that all media relevant to any project is backed up.

2. Select an exiting Project Folder or create a new folder

for the created project. Nuendo will create an untitled project that contains all the audio events in the OMF file.

3. If the media needs to be located, Nuendo will prompt

you to locate it. With OMF files that refer to external media, Nuendo will need to know where to look for referenced audio files.

4. Nuendo will import the OMF file and create new tracks

as needed. If the OMF file contains video events, you can have markers created for them that will allow you to easily place video files there later. Once the OMF file has been imported, align your video file to play in sync with the OMF audio. Here is where any ref- erence audio embedded in the video file will come in handy. By listening to both the OMF audio and reference audio tracks, you will easily be able to tell if everything is in sync. Since the OMF audio was created during the video edit, its timecode values should be correct. Adjusting the posi- tion of the video and reference audio to match the OMF audio would be the common method of aligning the two together. Make sure you move both the video and refer- ence audio together when making these adjustments. Grouping them together (the video event and reference audio event) in the Project window is a good method of ensuring they remain in sync with one another during edit- ing. Alternatively, you could place all of the reference ma- terial (video and audio) into a Folder track. Moving the folder track events will move everything within the folder together. Ö Panning audio sources can help you synchronize events together. For example, when aligning reference au- dio from a video file to imported OMF audio, try panning the reference audio to one side and the OMF audio to the other. This will make it easier to discern whether one source is ahead of the other as they get closer to perfect GS_Nuendo_GBDF.book Seite 107 Montag, 17. März 2008 2:50 14108 Audio editing to picture sync. A comb filtering effect can be heard when two iden- tical sources become very close in sync with one another. At that point, you are getting within samples of being in perfect sync. Once the OMF audio is imported and all video an audio events are synchronized together, you are ready to begin adding new elements and creating the complete sound- track. EDLs An older method of conforming audio to video involves the use of EDLs (Edit Decision Lists) created by the video ed- iting suite. These text files contain timecode and source tape information that can be used to align audio events to a reference video file in Nuendo. Depending on the length of the program material and the number of edits, this pro- cess can be time-consuming but also allows for the most precise control over the source material and synchroniza- tion. Since original source tapes and recordings are used, the maximum quality of those recordings can be main- tained. Audio elements from OMF media and reference audio might not be first generation. An EDL is, as the name implies, a list of edits. Each step describes a complete editing task including:

• The type of edit, i.e. Audio, Video or both.

• The source material such as tape number, audio file name or video file name.

• The start and ending source timecode values. Since audio sources for video editors usually come in the form of video tapes, they will always have timecode associated with them. That is the only way to keep track of the editing steps involved.

• The start and ending destination timecode values. These time- code values correspond to the location in the Project window where the audio will be placed. This information can be used in Nuendo to place audio events in the Project window at the specific timecode po- sitions that correspond to the edits made in the video ed- iting suite. To begin, you must first load in all of the source material needed by the EDL. The source material must have cor- rect timestamps in order for the EDL timecode values to be valid. There are various ways of doing this but the most common involve the following:

• A field recorder that creates audio files with timestamps em- bedded in them such as the Zaxcom DEVA™ hard disk re- corder. All three of these sources have audio and timecode. With the tape machines, Nuendo will have to be synchronized to the machine in order to record audio into the project at the correct timecode positions, thereby giving the audio files the correct timestamps. With the hard disk field recorder, the files can be directly imported with their embedded timestamps and then placed in the project “at Origin”. To conform an EDL edit, proceed as follows:

1. Create a Folder track for the source material.

Having all your source material in one consolidated area will lessen con- fusion later in the process.

2. Create an audio track for each source tape.

For DAT and video tape machines, having s separate track for each tape will prevent overlap of audio with the same timecode values and also keep things organized. Name each track the same name as the source tape it comes from. Each audio file you record on that track will now have the name of the source tape it came from.

3. Record all the significant portions of each source tape

into Nuendo. If only a portion of a source tape is used in the EDL, it is only necessary to record that section into Nuendo. This must be done while synchro- nized to the tape machine so that the audio file will be placed at the cor- rect timecode position in the Project window.

4. Import any audio files from a field recorder and place

them “at Origin” on as many tracks as necessary to pre- vent overlaps. Once the file has been placed “at Origin”, it can be used as a source for EDL conforming. An excerpt from a CMX EDL of three audio edits. GS_Nuendo_GBDF.book Seite 108 Montag, 17. März 2008 2:50 14109 Audio editing to picture

5. Using the above excerpt as an example, the first two

timecode values in each line are the start and end times of the source material. Using the Range Selection tool, cre- ate a selection on the proper source track using the two source timecode values. This can be done via manual entry in the info line. In this example, enter 00:21:29:19 for the range start and 00:21:35:21 for the range end.

6. Select Copy from the Edit menu.

This copies the source material into the clipboard.

7. Switch Range selections by using the Range Selec-

tion tool context menu or by pressing [2]. This switches to range selection B. Using the two different range selec- tions (A and B), will keep the source and destination times separate. This is similar to a four-point editing model used by many video and audio ed- itors, see “Range Selection tool four-point editing” on page 110.

8. Select the destination range as defined by the EDL.

You can use manual entry to place the range selection at the destination timecode values. It is only necessary to define the left selection or start point since the paste function will automatically place an audio event of the correct size as determined by the source range. The destination track is of your choosing. The amount of destination tracks should be deter- mined by the number used in the EDL. Some EDL formats only allow the use of 4 destination tracks. Your needs may vary according to the project itself. The main concern is getting the audio events in sync with the video. Once that is complete, placing audio events on various tracks is up to the user.

9. Select Paste from the Edit menu.

This completes the edit by placing the source material at the destination location. Check for sync with the video and reference audio.

10. Repeat as needed until the entire EDL is conformed.

Depending on the size of the EDL and number of edits, this process could take quite some time to complete. But understanding the EDL conforming process will help you deal with any problems that arise. Once you have successfully imported video and reference audio and conformed any production audio to the video, you are ready to begin adding new sound elements and creating the final soundtrack. Adding Sound Design elements Sound design elements can come from a variety of source including sound effect libraries on CD or hard drives, field recordings and even the production audio source tapes. In order to add these sounds to the project, they must be imported into the Pool or recorded into Nuendo from a tape machine. Ö Create various folders within the Pool to help organize all of the sound files used in your Project. With feature length films, the amount of audio can be staggering. Finding specific audio files can become daunting quickly if some or- ganization is not used. Nuendo’s MediaBay is designed to help you organize all of your sound files so that they are in- stantly accessible to you and can be quickly searched. Placing events to picture Placing audio events to picture can occur in several ways.

• Manual entry by timecode number.

• Inserting at Cursor location.

• Dragging with the mouse.

• Source/Destination four-point editing with the Range Selec- tion tool. Using the manual entry method requires knowing the right timecode number where you wish to place the audio event. This could come from an EDL or Cue list created earlier or it could come from a locator position or marker. In any scenario, select the audio file in the Pool and use the “Insert at Timecode” command to enter the location. The audio event will be inserted in the topmost selected track in the Project window. Using the cursor location to place audio events is a more visual approach. You can use the shuttle and scrub tools to view the video and locate the position you want to put the new audio event. Then, in the Pool use the “Insert at Cursor” command to place the event. While watching the video in real time, you can quickly place the left locator on the fly at the spot where you want to place the audio event. Then locate the cursor to the left locator (press [1] on the numerical keypad) and use the In- sert command to place the event. GS_Nuendo_GBDF.book Seite 109 Montag, 17. März 2008 2:50 14110 Audio editing to picture Using Edit Mode, you can drag audio events out of the Pool and place them on a track. Edit Mode will cause the video to follow the event as you move it in the Project win- dow. Drag the event until you find the right video frame and let go. You can use the Snap function here to keep the audio event lined up with each timecode frame as you drag it into position. Range Selection tool four-point editing It is often necessary to go through a large sound file to find a specific sound effect among others that will be used. This is especially true of field recordings with multi- ple takes of each sound and dead air time in between. In this situation, it might be best to set up an area in the project consisting of several “work” tracks that can be used to sort out various sound files and prepare them for use in the final soundtrack. Using the Range Selection tool, a four-point editing model can be used to cut ranges out of the work tracks and quickly paste them into the proper tracks in the project at specific video frames.

1. Create a Folder track labelled “Work Tracks” or some-

thing similar. In this folder track will be several audio tracks that can be used as a scratch pad for editing sound effects and preparing them for use in the project.

2. Create several tracks to work on.

You might need mono, stereo and even 5.1 audio tracks depending on the source material you are working with. Create as many as you need. A Folder track with four stereo work tracks inside can be used to edit various sound files before they are placed to picture.

3. Drag the various audio files into these work tracks.

Here it might be best to go to a time in the Project that is well after the end of the program material so that work tracks do not inadvertently get included in the final mix. Placing them where there is no video event will prevent distractions while editing the source material.

4. Using the Range Selection tool, select the audio you

wish to use. As with many sound effects libraries, there can be several versions of a particular sound effect. Auditioning them and choosing which one to use can be done on work tracks. Use the Range Selection tool to select just the audio you want to use with the picture. With multiple work tracks, you can place several sound effects lined up together and select them all with the Range Selection tool for editing. Selecting the desired sound effect with the Range Selection tool using selection A.

5. Copy the portion of audio (the default key command

for copy is [Ctrl]/[Command]+[C]). This will place the desired audio in the clipboard. In this technique, you can always return to this range selection and copy it again if needed later.

6. Switch range selections using the Range Selection

tool context menu or using a key command, by default [2]. Selection B will be used for the destination location of the edit. Selection A is retained in memory and can be accessed again by switching the Se- lection or pressing [2] again. Switching the Range to Selection B.

7. Define the destination range Selection B.

Using the key commands [E] and [D], you can define the range selection on the fly while watching the video or by any of the other methods men- tioned in this chapter.

8. Perform the edit by pasting (by default [Ctrl]/[Com-

mand]+[V]) the clipboard data into the new location. A macro can be created to do both the copy and pasting once you have made the two selections. Assign the macro to a key command and you will have a very efficient editing model to work with. GS_Nuendo_GBDF.book Seite 110 Montag, 17. März 2008 2:50 14111 Audio editing to picture Ö One very handy feature in using Selections A and B, is the ability to retain the view of each selection. If your work area is far away from the edit insertion point in the video (A is far away from B), zooming in closely to either location will leave the other outside the Project window viewing area. Changing selections between A and B will also cause the viewing area of the Project window to switch between the two locations instantly. This is really the key to this tech- nique, allowing you to move quickly between source and destination audio while retaining two selections for editing. Adjusting events to picture Once audio events have been placed to picture, their fades, duration and positions might have to be fine-tuned. Nu- endo’s nudge features are designed just for this type of use. The nudge functions are accessed using the nudge but- tons on the toolbar (or by using key commands). By de- fault, the Nudge controls are not displayed in the toolbar. You can add them by right-clicking (Win)/[Ctrl]-clicking (Mac) on the toolbar and selecting “Nudge Palette” from the context menu. The nudge buttons can incrementally adjust the position and size by trimming and moving events. Depending on the sizing setting of the Arrow tool, the nudge buttons will trim the events by moving the boundaries or moving the contents inside the event. The size of the nudge increment is determined by the grid settings in the Project window. A typical nudge setting for picture editing would be 1 frame. However, moving events by one frame increments might not yield the best timing to picture. Even though the video’s resolution is no more than one frame, subtle timing differ- ences less than one frame can be discerned by the viewer. Half-frame and even quarter-frame amounts could be nec- essary to accurately time events to picture. Subframes are also available as grid values and nudge increments. Edit Mode is extremely helpful for fine-tuning event place- ment to picture. Since the video follows each edit you make with the mouse, you can instantly see where in the video your edit is taking place, whether that be the start position of an event, snap point or fade duration. This makes editing to picture fluid and more creative. The Range Selection tool offers additional methods of ed- iting including:

• Adjust Fades to Range In Edit Mode, creating and adjusting the range will chase video so defining a range can be done visually to picture. Picture changes During the post-production process, it is often necessary to make changes to the overall timeline of a project. When any change is made to the video, those changes must be reflected in the audio as well. Making those changes is of- ten referred to as “conforming to picture changes”. There are only two possible types of picture changes:

• Removal of existing video.

• Addition of new video. The Range Selection tool can be used to accomplish both types of picture changes. The key is to retain the relative positions of every event in the project after the edit is per- formed. For example, if a portion of video is removed, re- moval of events on all tracks including Marker, MIDI, automation and Tempo tracks is necessary for everything to remain in sync after the edit point. Select “Nudge Palette ”… …to add the Nudge controls GS_Nuendo_GBDF.book Seite 111 Montag, 17. März 2008 2:50 14112 Audio editing to picture Picture cut This portion of the chapter will demonstrate how to make each type of picture change using the Range Selection tool. To make a picture change involving the removal of ex- isting video, proceed as follows:

1. Determine the starting point and duration of the sec-

tion to be removed. This information should come from the video editor in the form of time- code values specifying the start point and duration of each cut. When several changes are made to a video, information about those changes comes in the form of a “change list” or Avid’s change notes. Reference video and audio can also be used to figure this out and also double check the edit once it is complete.

2. Select the Range Selection tool and, on the Edit

menu–Select submenu, choose “Select All” to create a selection across all tracks from beginning to end of the project. This automatically selects all different types of tracks including MIDI, Marker, Tempo and Video. Ö You should de-select the video track if the current video file is the new edited version. You do not want to re- move anything from the new reference video. You may also choose to lock this and any other reference track to prevent accidental editing.

3. Manually type in the starting frame of the video change

edit in the Start field. This is the first video frame to be removed. You may also locate the cur- sor to this frame and select “Left Selection Side to Cursor” (by default [E]). Make sure that Snap is active, “Grid” mode is selected and that the Grid type is set to 1 frame. Here, the first frame of the video to be removed is 00:02:57:16.

4. Set the duration of the cut in the Length field of the

Info line. Now the range selection encompasses all of the events in the project that are to be removed with the old video. In this example, the length is 00:00:04:25 (4 seconds and 25 frames). The range has been defined for the cut on all tracks.

5. On the Edit menu, select “Cut Time”.

This will remove the selected area and move all the following events to the left by the same amount, filling the gap. The audio should now play in sync with the new video from the edit point on to the end. The edit is complete. All events to the right have been moved to fill in the gap. Once the edit is complete, import the new video file and check the sync of audio to video through the edit point. When performing picture changes, reference audio from the new video can be useful for checking your edits.

Once the new video and reference audio have been placed in the Project window, you may lock those tracks to prevent inadvertent editing later. GS_Nuendo_GBDF.book Seite 112 Montag, 17. März 2008 2:50 14113 Audio editing to picture Picture insert The same type of technique can be used when video is added to the timeline. To make a picture change involving the addition of video material, proceed as follows:

1. Locate the insertion point where the video has been

added. This information comes from the video editors change notes.

2. With the Range Selection tool selected, press [Ctrl]/

[Command]+[A]. This creates the selection across all tracks.

3. Manually enter the insertion point in the Info line.

Or you can place the cursor at the insertion point and select “Left Selec- tion Side to Cursor” on the Edit menu–Select submenu.

4. Manually enter the duration of the inserted video in the

Info line. This will create a selection of the same size as the inserted video. The Range has been prepared to create room for inserted video material.

5. On the Edit menu–Range submenu, select “Insert Si-

lence”. Blank space will be inserted and all events will be moved to the right to make room. Four seconds of blank space has been inserted to accommodate the new video. Tempo maps to picture When scoring to picture, tempo changes in the music of- ten need to follow specific visual elements onscreen. Us- ing the Time Warp feature with Edit Mode allows you to make these changes easily while viewing video. When you select the Time Warp tool, the time display auto- matically switches to Bars and Beats. When you grab a bar line in the Project window, the cursor and video will snap to that point and as you move the bar line around to adjust the tempo, the video will scrub along to give you visual feed- back of where the bar line is in relation to the video. Once you have found the specific video frame, [Shift]-click in the timeline. This will anchor a tempo point at that posi- tion. Adjusting bar lines after that point will change its tempo value. Using this method, you could synchronize the beat of music to various action points in a car chase for example. Ö Time Warp does not allow smooth changes in tempo that are often necessary in film scores. For that you must edit the Tempo track directly. See the respective chapter in the Operation Manual for more information. GS_Nuendo_GBDF.book Seite 113 Montag, 17. März 2008 2:50 14Index GS_Nuendo_GBDF.book Seite 114 Montag, 17. März 2008 2:50 14115 Index

Browser Scanning 86 Bus Surround 70

Fades Fade handles 102, 105 Feet and frames 100 Field recording 102, 108 FireWire DV Output 94 Four-point editing 109, 110 Frame rate 100, 106 FX channels 64

Hard disk Considerations 22

Key command conventions 7 Key Editor About 49

Latency 22 Levels 60 Setting 27, 28 Loading Sounds 45 Local On/Off 20 Loop Browser 84 About 53 Insert into Project 54 Loops Adding 53 Working with 52