Cubase 15 Pro

Studio Setup Dialog

Central hub for audio, MIDI, and remote control device configuration. Open via Studio > Studio Setup.

Devices List

Select a device to show its settings on the right. Includes ASIO driver, MIDI ports, and connected controllers.

Reset (per device)

Sends a reset to the active ASIO device and restarts audio processing. Use when experiencing clicks or dropouts. Causes a brief audio interruption.

Audio Settings Dialog

Open via Edit > Audio Settings. Settings here are mirrored in Studio Setup.

ASIO Driver

Select your audio interface driver. For Apollo, select the Universal Audio ASIO driver.

Control Panel

Opens the hardware control panel directly (UA Console for Apollo).

Input / Output Latency

Displays current hardware latency. Adjust buffer size in the hardware control panel.

Direct Monitoring

Enables monitoring via hardware (zero-latency). When active, Cubase sends monitor control commands to the interface.

Release Driver in Background

Allows other apps to use the audio driver when Cubase is not in focus.

MIDI Setup

Open Studio > Studio Setup and select MIDI Port Setup. Enable the ports you want Cubase to use. Disable inactive ports to avoid MIDI feedback loops. USB hardware synths appear as their own ports.

Inputs / Outputs Tab

Bus Name

Click to rename. Use descriptive names matching your physical routing (e.g. "Apollo In 1-2", "Synth Return L/R").

Device Port

Maps the bus to physical hardware I/O. Expand a bus entry to see per-speaker channel assignments. Ports used by multiple busses are noted in square brackets.

Add Bus

Opens the Add Input/Output Bus dialog. Set channel count and configuration.

Presets

Save and recall complete bus configurations. Essential if your setup changes between sessions.

Group / Effect Tab

Create Group Channel Tracks (submix busses) and FX Channel Tracks (send effect returns) and set their output routing.

External Instruments & Effects

Map hardware synths and outboard gear into the Cubase signal chain. External Instruments appear in the VST Instruments selector. External Effects appear in Insert/Send effect selectors.

Essential Key Commands

Track Versions

Each track supports multiple named versions — alternative takes or arrangements stored on the same track. Right-click the track name → Track Versions. Switch between versions from the selector that appears at the track top.

Folder Tracks

Group related tracks in a Folder Track for visual organization and group editing. New in v15: Folder Tracks can automatically propagate their color to all contained tracks. Enable in Preferences → Event Display — Folders.

Snap On / Off

Toggle snap with J. When snap is off, events move freely at any position. When on, behavior depends on the Snap Type setting. Snap state is independent between the Project Window and editors (Key Editor, Drum Editor, etc.).

Snap Type

Sets what events snap to. Click the Snap Type pop-up on the toolbar.

Grid

Events snap to the positions defined by the Grid Type — the standard mode for most work. New events and moved events both land on grid positions.

Grid Relative

Events don't snap to the grid but move in grid-sized steps from wherever they already are. Useful for shifting an out-of-time event by exact increments while preserving its offset from the grid. Only applies when dragging existing events — new events snap like Grid mode.

Events

Start and end positions of other events become magnetic. Drag an event near another event's edge and it locks to it. Essential for tight butt-editing of audio clips.

Shuffle

Drag one event past an adjacent event and they swap positions. Useful for reordering clips without manual gap-filling.

Cursor

The project cursor becomes magnetic — drag an event near the cursor and it snaps to that position.

Grid + Cursor / Events + Cursor / Events + Grid + Cursor

Combination modes. Events + Grid + Cursor is the most flexible all-purpose setting for detailed editing.

Grid Type — Musical (Bars+Beats format)

When the ruler is set to Bars+Beats (the standard for music production), the Grid Type sets the note-value resolution of the grid.

Bar

Snap to bar lines. Good for moving large sections, arranger-level editing.

Beat

Snap to beats (quarter notes in 4/4). Good for phrase-level editing.

Use Quantize

Grid resolution follows whatever value is set in the Quantize Presets pop-up on the toolbar. This is the most flexible option — change one dropdown and both the quantize grid and the snap grid update simultaneously. Recommended for most MIDI work.

Adapt to Zoom

Grid resolution adjusts automatically with horizontal zoom level. Zoomed out = snaps to bars; zoomed in = snaps to 64th notes. Good when navigating large projects without changing grid settings manually.

Quantize Presets (Grid Resolution Selector)

The Quantize Presets pop-up on the Project Window toolbar and inside each editor sets the musical note value used for both quantizing and (when Grid Type = Use Quantize) snapping. Available values include straight, triplet, and dotted note values from 1/1 down to 1/64.

Length Quantize (Key Editor)

Separate from the quantize/snap grid — the Length Quantize value controls the length of newly drawn notes in the Key Editor, and is also used by Step Input to set note duration. Found on the Key Editor toolbar as its own pop-up menu.

Quantize Link

Note length is tied to the Quantize Preset value — when you change the grid resolution, note length updates with it. The most common setting for Step Input work.

Fixed Values (1/4, 1/8, 1/16, etc.)

Note length is fixed regardless of the current quantize grid. Useful when you want step size and note length to be different (e.g., 1/16 steps with 1/8 note lengths for overlapping legato parts).

Grid in the Key Editor and Drum Editor

Each editor has its own independent Quantize Presets and Length Quantize settings on its toolbar — separate from the Project Window's grid settings. Changing the grid in the Key Editor does not affect the Project Window and vice versa. This means you can have 1/16 snap in the Project Window while working at 1/32 in the Key Editor simultaneously.

Record-Enabling Tracks

Click the Record Enable button (red circle) on the track. To auto-enable on selection: Edit > Preferences > Editing—Project & MixConsole → activate Enable Record on Selected Audio/MIDI Track.

Basic Recording

Punch In / Punch Out

Set Left Locator (punch-in) and Right Locator (punch-out). Activate Punch In and Punch Out on the Transport panel. Recording starts/stops automatically at those positions during playback.

Cycle Recording

Activate Cycle on the Transport and record. Cubase loops the locator range repeatedly, creating a new take on each pass. Set the record mode in Transport > Common Record Modes: New Parts, Stacked (takes stacked in lanes), or Mix.

Monitoring Options

Auto Monitor

Default. Monitors input when track is record-enabled and playback is stopped.

Tape Machine Style

Monitors input while recording only.

Direct Monitoring

Zero-latency monitoring via hardware interface. Enable in Audio Settings. Cubase still controls level and mute.

MIDI — Retrospective Record

Cubase continuously buffers incoming MIDI. If you played something great before hitting Record, click Insert MIDI Retrospective Recording in the Key Editor toolbar to recover the performance.

Activating Step Input

Entering Notes & Chords

Single note

Press one key on your MIDI keyboard. The note is inserted at the cursor position with the current Length Quantize value, and the cursor advances by one step (the Quantize value).

Chord

Press and hold multiple keys simultaneously. All held notes are inserted as a chord on the same step position. Release all keys to advance the cursor.

Rest (empty step)

Press → Right Arrow to advance the cursor one step without inserting a note. Adds a rest to the pattern.

Move cursor back

Press ← Left Arrow to move the cursor back one step (without deleting the note there). Use to re-enter or correct a previous step.

Lengthen / Shorten a note while inserting

Hold down keys on your MIDI keyboard and press → (lengthen by one step) or ← (shorten by one step) while still holding the keys. The initial length is set by Length Quantize; the adjustment increment is the Quantize value.

Step Input Toolbar Options

Step Input (button)

Activates/deactivates step input mode. When off, the Key Editor returns to normal editing mode.

MIDI Step Input (button)

Enables your MIDI keyboard as the input source. When off, you can still click notes into the piano roll manually while step input is active.

Move Insert Mode

When active, all notes to the right of the step input cursor shift right to make room for newly inserted notes — like inserting text in a word processor. When off (default), new notes overwrite or add on top of whatever is already there.

Record Note On Velocity

When active, the velocity you play on your keyboard is captured and stored with each note. When off, notes use a fixed default velocity.

Record Note Off Velocity

Captures the release velocity from your keyboard (useful for instruments that respond to key release).

Keep Existing Notes

When active, stepping over positions that already have notes does not replace them — you're adding to the part, not overwriting. When off, existing notes at each stepped position are replaced.

Record Pitch

Includes the pitch from your MIDI input. In most cases this stays on; deactivate it if you want to step only through rhythms without changing pitches of existing notes.

Step Input Workflow — Typical Approach

Step Input in the Drum Editor

Step Input works identically in the Drum Editor. Each key on your MIDI keyboard triggers a different drum sound (based on the drum map assignment). Press a pad or key and that drum sound is placed at the current step position. Use → for rests. This is an alternative to the Pattern Editor for building drum patterns directly in the Drum Editor with full note-by-note control.

Step Input vs. Pattern Editor — Which to Use

Key Editor

The primary MIDI editor — piano-roll style grid where notes appear as horizontal bars. Open by double-clicking any MIDI part, or Ctrl/Cmd-E. Can dock in the Lower Zone.

Note Display

Horizontal = time, vertical = pitch. Note length is represented by note width. Use the Draw tool to add notes.

Controller Display

Lanes below the note display show velocity, mod wheel, pitch bend, sustain pedal, and any CC data. Multiple lanes can be shown simultaneously.

Scale Assistant (Inspector)

Select a musical scale — the display dims non-scale pitches and the piano keyboard highlights scale tones. Snap Pitch Editing constrains edits to scale notes.

Solo Editor

Solos the track being edited during playback. Toggle from the Key Editor toolbar.

Key Editor Shortcuts

Drum Editor

Opens automatically for tracks with a Drum Map assigned. Notes display as diamond markers where each row is a drum sound. Each sound has its own quantize value — set per-row in the left column. Velocity shown as bar height.

MIDI Functions (Edit Menu)

Delete Doubles

Removes duplicate notes at the same pitch and position — common artifact of cycle recording.

Delete Overlaps

Trims notes that overlap the same pitch. Essential for monophonic synth parts.

Fixed Note Length

Sets all selected notes to the current Length Quantize value.

Fixed Velocity

Sets all selected notes to a uniform velocity.

Render Sustain Pedal to Note Lengths

Extends note lengths to match held sustain pedal data, then removes CC64 events.

Thin Out Controller Data

Reduces density of CC data (mod wheel, pitch bend) without audible effect. Reduces file size.

Quantize Functions

Quantize Panel

Open via Edit > Quantize Panel. Detailed control over the quantize operation.

Soft Quantize

Moves events only partway toward the grid. Set Quantize Strength (0–100%). Apply repeatedly to gradually tighten timing without snapping rigidly.

Swing

Offsets every other grid position for shuffle feel. 0% = straight, 100% = maximum swing.

Catch Range

Events within this many ticks of the grid are not moved — preserves intentional micro-timing near the beat.

Auto Apply

Instantly applies changes to selected parts. Audition different settings during playback.

Groove Quantize

Extract the rhythmic feel of an existing recording and apply it to other tracks — transferring the human timing and pocket of one performance onto another.

Position

How much groove timing affects the target. 100% = exact match. 50% = halfway between grid and groove feel.

Velocity (MIDI only)

Applies the velocity dynamics of the groove source to target notes.

Pre-Q

Quantizes target to a standard grid first before applying groove. Use 1/16 Pre-Q when applying shuffle groove to 16th-note patterns.

Max. Move

Caps how far any event can move. Prevents extreme outliers from being pulled too far from their original position.

Sample Editor

Non-destructive audio editor for individual audio events. Open by double-clicking any audio event. Can dock in the Lower Zone.

Waveform Display

Shows the audio clip waveform. Zoom with H/G.

Overview Line

Shows the full clip with a highlighted window region. Drag the region to navigate to different sections.

Snap Point

Reference position marker inside the event. Used as the snap anchor when placing events in the Project Window. Drag to reposition or use Audio > Snap Point to Cursor.

Regions

Named sections within a clip that can be dragged out as separate events. Useful for long recordings with multiple usable takes.

Hitpoints

Marks transient positions in audio. Enable auto-detection in Preferences > Editing—Audio. Use hitpoints to: quantize audio, extract groove presets, create slices for tempo-flexible loops, generate MIDI notes from audio rhythms, and create warp markers.

Slices & Tempo Matching

Create slices from hitpoints to make audio loops tempo-flexible. In the Sample Editor Inspector → Hitpoints → Slices. Audio is divided at hitpoints; each slice becomes a separate event inside an Audio Part that stretches with project tempo changes.

Stem Separation (New v15)

Select an audio event → Audio > Stem Separation. AI separates the audio into instrument stems (drums, bass, melody, vocals, other), each placed on a new track. Useful for sampling, remixing, or isolating elements from mixed sources.

Fades & Crossfades

Event Fades

Hover over the top-left corner of any audio event for the fade-in handle; top-right for fade-out. Drag to create. Double-click to edit the fade curve shape.

Crossfades

Select two adjacent events and press X. Auto-crossfades available per-track via right-click → Auto Fades Settings.

Auto Fades

Applies a short fade-in/fade-out to all events on the track. Essential for eliminating clicks on sliced audio loops.

Activating VariAudio

Segments & Gaps

Segments (colored blocks) = tonal notes. Vertical position = pitch, horizontal = timing. The pitch curve within each segment shows pitch variation over the note's duration. Gaps between segments = breath sounds, rests, non-tonal content.

Pitch Editing Tools

Drag Segment Vertically

Moves pitch. With Pitch Snap Mode active, snaps to semitones (or scale tones if a scale is selected).

Correct Pitch

Snaps selected segments to the nearest semitone. Adjust Pitch Quantize slider for partial correction strength.

Straighten Curve

Flattens the pitch curve within a segment, removing vibrato or drift. Use the strength slider to control amount.

Shift Formant

Changes the timbre character of a segment independently of pitch. Use after large pitch shifts to restore natural sound.

Volume

Adjust the volume of individual note segments directly in VariAudio.

Scale Assistant

Select a scale in the Inspector. In-scale pitches are displayed brightly; out-of-scale pitches are dimmed. Snap Pitch Editing constrains all moves to scale tones. Quantize Pitches snaps all selected segments to the nearest scale pitch in one operation.

MIDI Extraction

After analysis, use Extract MIDI (VariAudio Inspector → Choose Function) to generate a MIDI part from the vocal pitch data. Useful for creating harmony lines or doubling vocals with a synthesizer.

DOP Window Controls

Process Chain

Lists all applied processes. Drag to reorder. Click the eye icon to bypass individual processes.

Add Plug-in / Add Process

Add VST effects or built-in audio processes.

Auto Apply

ON by default — changes render instantly. Turn OFF for long files or plug-ins with learning functions, then click Apply manually.

Render Permanently

Bakes processing into the audio file, removing the DOP chain. Use for delivering final stems.

Built-In Processes

MixConsole Sections

Fader Section

Mirrors the track list order. Each channel strip has fader, pan, solo/mute, record enable. Fader value shows dB level.

Channel Section

Detailed view for the selected channel: Routing, Pre-Gain/Phase, Inserts, EQ, Strip, Sends, Cue Sends.

Left Zone — Visibility

Show/hide individual channels. Lock channels to left or right of the fader section for permanent visibility (e.g., master bus always visible).

Left Zone — Snapshots

Save and recall complete MixConsole states. Name by version or date. Recall any time without undo.

Left Zone — History

Browse and undo specific MixConsole parameter changes independently of the main project undo history.

Inserts

16 insert slots per channel (8 pre-fader, 8 post-fader). Slots 7–8 are always post-fader — appropriate for dithering on the Master output. Signal passes through inserts in series, top to bottom.

Sends

Parallel routing to FX Channel Tracks or Cue Channels. Each send has its own level and pre/post-fader switch. Pre-fader sends are independent of the channel fader — essential for headphone cue mixes.

Channel Strip

Integrated gate, compressor, EQ, transient shaper, saturator, and limiter modules in one unit. Modules can be reordered by dragging. Separate from Inserts — both can be used simultaneously on the same channel.

VCA Faders

Control groups of channels with a single fader while preserving their relative levels. Unlike Group Channels, VCA automation is stored per-VCA track without summing audio. Create via Project > Add Track > VCA Fader.

Setting Up Control Room

Channel Types

Monitor (up to 4)

Each represents a speaker set. A/B between main monitors, secondary speakers, or headphones with a single click.

Phones (1)

Headphone output for engineer reference. Can monitor main mix or any cue mix.

Cue Channels (up to 4)

Performer headphone feeds — each with its own independent cue mix built from per-channel cue sends in the MixConsole.

External Inputs (up to 6)

Route external sources (reference CD, vinyl) into the monitoring chain without adding them to the project.

Talkback (1)

Engineer-to-performer microphone. Routes to cue channels. Can be recorded if needed.

Main Tab Controls

Dim

Reduces monitor level by a fixed amount (set in Preferences). Instant level drop without touching the volume control.

Mono

Sums monitor output to mono for mono compatibility checks.

Listen (AFL)

After Fader Listen — routes a single channel to the Control Room for solo monitoring without affecting the mix.

Insert Effects

Serial processing — signal passes through each insert in order. Pre-fader inserts for dynamics (gate, compressor) work on the true unscaled signal level. Post-fader inserts (slots 7–8) for master processing, limiting, or dithering.

Send Effects (FX Channels)

Parallel routing — dry signal continues through the channel while a copy is sent to an FX Channel at a controllable level. Ideal for shared reverbs and delays. Set the FX plug-in to 100% wet; control blend per channel via send level.

Side-Chaining

External Effects (Outboard Gear)

Set up in F4 → External FX tab. The external effect then appears in the Insert selector like any VST plug-in. Round-trip latency is measured automatically and compensated.

Instrument Tracks vs. Rack Instruments

Instrument Track

Combines a VST instrument, audio output channel, and MIDI track in one. Best for dedicated single-voice instruments. Add via Shift-T or double-click in track list → Instrument Track.

Rack Instrument (VSTi Rack)

Open via Studio > VST Instruments. Multiple MIDI tracks can address the same rack instrument simultaneously. Required for multi-timbral instruments (Superior Drummer multi-out, Groove Agent multi-channel).

VST Instrument Control Panel

A/B Settings

Compare two preset states by switching between A and B. Copy current settings to A or B before experimenting.

Show Modulation Connections

Reveals the visual modulation routing overlay — shows which Cubase Modulators are connected to which instrument parameters.

VST Quick Controls

8 assignable macro knobs in the Inspector. Map hardware controller knobs/faders to Quick Controls for hands-on instrument control.

Freezing Instruments

Click the Freeze button on an Instrument Track to render it to audio temporarily. Frees CPU. Unfreeze at any time to edit. Tail Length setting determines how much audio tail is captured after the last MIDI note.

Multi-Out Instruments

For instruments like Superior Drummer 3 with multiple outputs: after adding as a Rack Instrument, click the arrow next to the instrument in the VSTi Rack to activate additional audio output channels. Each activated output appears as a separate channel in the MixConsole.

Write & Read

W (Write)

Record automation. Any parameter adjusted during playback while W is active is captured. Enabling W automatically enables R.

R (Read)

Play back automation. Disable R to lock parameters at their current static value, ignoring recorded automation.

Global W/R Buttons

On the Project Window toolbar — activate/deactivate automation on ALL tracks simultaneously.

Drawing Automation Manually

Automation Write Modes

Touch

Records while control is touched/moved. Returns to existing curve when released.

Auto-Latch

Starts writing when you touch a control, continues writing the new value after release until playback stops.

Cross-Over

Starts writing when the physical control crosses the existing automation curve value.

Trim

Offsets existing automation relative to current values rather than overwriting. Use to globally raise or lower a section without losing relative shape.

MIDI Remote Mapping Assistant

Focus Quick Controls

Maps 8 controller knobs to the VST Quick Controls of whichever instrument window currently has focus. Move focus to a different synth — the knobs instantly switch to control that synth. Configure in the Mapping Assistant → Focus Quick Controls section.

Creating a Custom Surface

Click Edit MIDI Controller Surface on the info line → open the Surface Editor. Add control types (knob, fader, button, pad) matching your hardware's layout. Save, then use the Mapping Assistant to assign functions.

Available Modulators

LFO Key Parameters

Retrigger Mode

Free (runs continuously), Sync to Project Start (locked to tempo/phase from bar 1), or MIDI (restarts on each MIDI note). Use Sync to Project Start for rhythmically locked modulation.

Sync Mode — Note

Set rate as a musical division (1/4, 1/8, 1/16) — automatically syncs to project tempo.

Phase

Starting phase on retrigger. Offset LFOs on different parameters for stereo or polyrhythmic modulation effects.

Hold Modulator Output

Freezes the LFO output at its current value. Automatable — "freeze" a filter mid-sweep at an exact position.

Assigning Modulators to Parameters

Controller Lanes — Setup

The controller display lives at the bottom of the Key Editor and Drum Editor. Show it via Set up Window Layout > Controller Lanes on the toolbar, or click the Create Controller Lane button at the bottom left of the editor.

Add a Lane

Click Create Controller Lane (the + button at lower left of the editor). Select an event type from the pop-up menu. Each lane shows one controller type at a time.

Change Lane Type

Click the controller name label on the left edge of any lane — a pop-up lists all available types. A diamond icon next to a name indicates data already exists for that controller.

Show All Used Controllers

Open the Create Controller Lane menu → Show Used Controllers. Opens a lane for every CC type that has recorded data in the current part. Fastest way to see what was captured during recording.

Show Velocity Only

Create Controller Lane menu → Show Velocity Lane Only. Collapses back to just velocity — the quickest reset after deep CC editing.

Save Lane Presets

Click Controller Lane Setup (gear icon) → Add Preset. Save your favourite multi-lane layout (e.g. Velocity + Mod + Expression) as a named preset for recall on any part.

What Each Lane Type Shows

Drawing CC Data

Select a tool from the Key Editor toolbar and click/drag in a controller lane:

Draw Tool — single click

Places one CC event at the clicked position and value. Good for precise point placement.

Draw Tool — click and drag

Paints a series of CC events following the mouse path. The density of events is set by the Length Quantize value — smaller values = more events = smoother curves. For very smooth curves, set a small Length Quantize (1/64) and deactivate Snap.

Line Tool — Line mode

Click and drag to draw events in a perfectly straight line from start point to end point. Essential for clean linear fades.

Line Tool — Parabola mode

Draws events on a parabola curve. More natural-sounding than a straight line for fades and swells. Modifier keys: Ctrl/Cmd = reverse curve direction, Shift = adjust exponent, Alt/Opt = shift curve position.

Line Tool — Sine / Triangle / Square

Generates periodic waveform curves automatically. The Quantize value sets the period length (one cycle). Length Quantize sets the event density. Use Sine for smooth modulation wheel automation, Square for stuttered gating effects, Triangle for linear LFO-like sweeps. Hold Shift while drawing to set the period length freely.

Line Tool — Paint

Freehand drawing — drag to paint multiple events along any path.

Object Selection Tool + Alt-drag

Edit existing CC events by dragging. Equivalent to the Draw tool for editing.

Step vs. Ramp Curve Type

By default, CC events are stored as Steps — the value jumps instantly at each event point and holds until the next. This is fine for switches (sustain pedal, program changes) but creates a staircase effect on smooth controllers like mod wheel.

To create smooth transitions: select a CC event, then on the Key Editor info line change Curve Type from Step to Ramp/Curve. Cubase interpolates smoothly between the two events. Click the curve handle that appears between events to adjust the curve shape (concave/convex).

Controller Event Editor (Scaling & Shaping)

Select a range of CC events with the Object Selection or Range Selection tool — a bounding box appears with smart handles for bulk reshaping operations:

Scale Vertically (top center handle)

Scales all selected events up or down proportionally. Drag up = boost the whole curve, drag down = reduce. Preserves the curve shape.

Move Vertically (top edge, not center)

Shifts the entire selected range up or down by a fixed offset.

Tilt Left / Tilt Right (top corners)

Pivots the curve from the opposite end. Tilt Left anchors the right end and tilts the left end up or down — creates ramp shapes from flat data. Essential for making gradual builds from a flat mod wheel line.

Compress Left / Compress Right (Alt/Opt + top corners)

Compress or expand the curve from one side — squeezes dynamic range toward the center or stretches it toward the edges.

Stretch (bottom edge handle)

Stretches or compresses the selected events horizontally in time.

Pitchbend Lane — Special Features

The Pitchbend lane has a configurable semitone grid that helps you draw precise pitch bends to exact intervals.

Set up Grid (gear icon on the lane)

Opens the Grid Settings pane. Set Pitchbend Range Up and Down (default ±2 semitones). Match this to the pitchbend range set in your synth patch — they must agree or the visual grid won't match the audible result.

Snap Pitchbend Events

Restricts event placement to the semitone grid positions — bends snap to exact semitone intervals rather than landing between notes. Toggle from the lane header.

Show Semitones Grid

Displays horizontal grid lines at each semitone position. Enable independently of Snap if you want the visual reference without enforced snapping.

Automation Tracks (Project Window)

Automation tracks in the Project Window are separate lanes below each track that store parameter changes as curves. They work for any automatable parameter — MixConsole faders, EQ settings, plug-in knobs, send levels, and also MIDI CCs (after extraction).

Show / Hide Automation Lanes

Hover over the lower-left corner of a track — click the triangle arrow icon (Show/Hide Automation) that appears. Or right-click the track → Show/Hide Automation.

Add Another Lane

Hover over the lower-left corner of an existing automation lane and click the + icon to append another automation track for a different parameter.

Assign a Parameter

Click the parameter name label on any automation lane — a searchable selector opens. The 5 most recently touched parameters appear at the top for quick access (new in v15).

Show All Used Automation

Right-click any track → Show All Used Automation. Opens every automation lane that contains data. Equivalent of "Show Used Controllers" but for the whole track in the Project Window.

Show Only One Plug-in

Right-click an automation track → Show Only Automation Tracks of [plug-in name]. Isolates all automation belonging to a specific effect — useful when one synth has 20 automated parameters.

Mute an Automation Lane

Click the Mute button on any individual automation lane to disable that parameter's automation without deleting it. The parameter returns to its static value.

Remove Unused Parameters

Right-click any automation lane → Remove Unused Parameters. Cleans up empty automation lanes cluttering the track list.

Converting CC Data: Part → Automation Track

When you record MIDI in real time with a mod wheel or expression pedal, the data lands in the Controller Lane inside the MIDI part. To move it to a Project Window automation track for arrangement-level editing:

CC Automation Setup — Conflict Resolution

Open via MIDI > CC Automation Setup. This dialog controls what happens when CC data exists in both a Controller Lane and an Automation Track for the same parameter.

Record Destination on Conflict

When both Record and Write Automation (W) are enabled simultaneously, this sets where new CC data goes: MIDI Part (into the Controller Lane) or Automation Track.

Replace 1 — Part Range

The part's CC data takes priority within the part's time range. Outside the part, the automation track resumes. Abrupt switch at part borders.

Replace 2 — Last Value Continues

Like Replace 1 but smoother — the last CC value from the part is held until the automation track has an event to take over.

Average

The playback value is the average of both the part CC and the automation track CC at each point. Blends both sources.

Modulation

The automation track curve modulates the part's CC curve — higher automation values amplify the part data, lower values reduce it. Good for dynamic macro control over performance CC data.

Common MIDI CC Reference

Import Audio File (Main Method)

Drag and Drop from Finder / File Browser

Drag an audio file from macOS Finder directly onto an existing track or into empty track space. If you drop into empty space, a new track is created. Snap is respected — if Snap is on, the file lands on the nearest grid position. Hold Shift while dragging onto an existing event to replace its clip.

Import via the Pool

Open the Pool (Ctrl/Cmd-P or Project > Pool). Click the Import button on the toolbar to browse and import files directly into the Pool without immediately placing them on a track. From there, drag the clip to any track position, or use Media > Insert into Project. Good workflow for batch-importing stems when you want to audition and place them selectively.

Supported Compressed Formats

Sample Rate & Bit Depth Mismatch

If an imported file's sample rate differs from the project (e.g. importing a 44.1kHz file into a 48kHz project), Cubase will flag it and offer to convert it. Always accept the conversion to keep everything in sync. Bit depth mismatches are handled automatically — Cubase works internally at 32-bit float regardless of the source file's bit depth.

What It's For

Creating MIDI Notes from Hitpoints

Velocity Mode — Dynamic vs. Fixed

Dynamic Velocity

MIDI note velocities are derived from the peak level of each detected transient — louder hits become higher velocity MIDI notes. Best for realistic drum triggering where you want the dynamics to match the original performance.

Fixed Velocity

All MIDI notes get the same velocity value regardless of the audio. Best when you're using the MIDI purely for rhythmic triggering and want to control dynamics separately via the synth or drum module.

Other Hitpoint Create Options

Create Slices

Cuts the audio event at every hitpoint position, creating independent audio slices that can be repositioned, pitch-shifted, or time-stretched individually. Foundation of AudioWarp tempo matching.

Create Regions

Creates named regions in the Pool at each hitpoint position — useful for exporting individual hits as samples.

Create Groove

Extracts the timing grid from the audio's hitpoints and makes it available as a Groove Quantize preset. This is how you "borrow" the groove feel from one recording and apply it to MIDI tracks. See the Quantize & Groove section.

Create Warp Markers

Places AudioWarp warp markers at each hitpoint — the starting point for manual tempo correction of free-time recordings.

Opening the Pool

Press Ctrl/Cmd-P, or go to Project > Pool, or Media > Open Pool Window. The Pool is organized into three top-level folders: Audio (all audio clips and regions), Video, and Trash (clips staged for deletion).

Key Columns

Essential Pool Operations

Find what a clip is used by

Select a clip → Media > Select in Project. All events in the Project Window that use this clip become selected.

Find which clip an event uses

Select an event in the Project Window → Audio > Find Selected in Pool. The clip is highlighted in the Pool.

Insert a Pool clip onto a track

Drag from the Pool into the Project Window — snap applies. Or select the clip → Media > Insert into Project to place at the cursor or origin time.

Remove unused clips

Media > Remove Unused Media → choose Trash (staged) or Remove from Pool (immediate, doesn't delete the file). Run this before archiving a project to clean up accumulated take files.

Permanently delete files from disk

Drag clips to the Trash folder → Media > Empty Trash → Erase. Permanent — cannot be undone. Only do this for files you're certain aren't used in other projects.

Fix missing files

Missing files show a ? in the Status column. Go to Media > Find Missing Files to locate and relink them. This happens when audio files are moved outside of Cubase.

Duplicate a clip (non-destructively)

Select a clip → Media > New Version. Creates a new edit version referencing the same audio file — no new file written to disk. Useful for applying different processing to the same source.

Pool Record Folder

The record folder (indicated by the • icon in the Status column) is where new recordings are saved. By default it's the project's main Audio folder. You can create subfolders in the Pool and designate one as the record folder — useful for keeping vocal takes, synth recordings, and imported stems organized in separate subfolders.

To set a new record folder: right-click a Pool subfolder → Set as Record Folder.

Opening the Media Rack

Click Show/Hide Right Zone on the Project Window toolbar, then click the Media tab at the top of the right zone. The Home page shows tiles for each media type.

Home Page Tiles

Adding Your Sample Library as a Favorite

Previewing & Loading Media

Audition a file

Select any loop, sample, or preset in the Results list — it plays back automatically (if Auto Play is on) via the Previewer section. For audio loops, preview plays in sync with the project tempo if Musical Mode is active on the clip.

Load onto a track

Drag from the Results list directly onto a track or into empty track space. For instrument presets, drag onto an existing Instrument Track to load the preset into that instrument, or onto empty space to create a new track.

Search

Type in the search bar at the top of the Media Rack. Searches by filename by default. In the full MediaBay window (Media > Open MediaBay), you can filter by attributes — tempo, key, category, instrument type, etc.

Setting Up

Working with Chains

Reorder events

Drag events up or down in the Current Arranger Chain list.

Add repeats

Click the Repeats column for an event and type a number. The Counter column shows which repetition is currently playing during playback.

Multiple chains

Click Create New Chain to save alternate arrangements (e.g. "Radio Edit" vs "Extended Mix" vs "Live Version"). Switch between them from the Select Active Chain menu.

Repeat Forever mode

Click the Mode column and select Repeat Forever for an event — it loops until you manually click the next event or stop. Useful for live performance or extended loop jamming.

Flattening to Linear Project

When you're happy with an arrangement and want to commit it to a normal linear timeline, click Flatten Chain in the Arranger Editor. This converts the arranger chain into actual events in the Project Window — copying and rearranging them as needed.

Adding the Chord Track and Creating Chord Events

Chord Assistant — Finding the Next Chord

With a chord event selected, click Chord Assistant in the Chord Editor for three ways to get suggestions:

List Assistant

Suggests the next chord based on harmonic rules (cadences or common-note relationships). Select Cadence for traditional progression logic, Common Notes for smoother voice-leading suggestions.

Proximity Assistant

Shows suggested chords in a radial layout — closer to the reference chord = simpler, more expected. Further away = more surprising, complex. Click any suggestion to audition it.

Circle of Fifths

Interactive circle showing all 12 major chords (outer ring) and parallel minors (inner ring) with scale degree labels. Click any chord to try it. Right-click → Use as Origin to re-center the circle on a new key.

How the Chord Track Drives Other Features

VariAudio Scale Assistant

In the Sample Editor with VariAudio active, enable Use Chord Track in the Scale Assistant section. Vocal pitch segments are now color-coded against the current chord — out-of-key notes are visually flagged, and Quantize Pitches snaps them to chord tones. See the VariAudio section.

Key Editor Scale Assistant

The Key Editor's Scale Assistant can also follow the Chord Track — note display highlights notes that belong to the current chord as you step-input, making it easy to stay in key without memorizing scale shapes.

Follow Chord Track (MIDI Tracks)

In the Inspector for any MIDI or Instrument Track, open the Chords section and set Follow Chord Track to a mode. Cubase transposes the MIDI notes on that track to match each chord change. Modes: Chords & Scales (maintains intervals), Chords (maps to chord tones), Scales (maps to scale), Root Notes (bass tracks follow root), Voicings (maps to a voicing library).

Live Input

In the Chords Inspector section, set Live Input to Chords or Scales. Now any key you play on your MIDI keyboard is automatically transposed to fit the current chord or scale on the Chord Track — so you can play simple patterns and have Cubase voice them correctly without knowing the exact notes. Powerful for performance and sketching.

Creating a Chord Track from Existing MIDI

If you already have a MIDI chord part (e.g. a piano comping track), Cubase can extract a Chord Track from it: select the MIDI part → Project > Chord Track > Create Chord Events. The chord progression is analysed and populates the Chord Track automatically. Good for reverse-engineering the harmony of a finished sketch.

Fixed Tempo vs. Tempo Track Mode

Fixed Tempo (default)

One constant BPM for the entire project. Set it in the Transport panel's tempo field. Everything syncs to this. The standard mode for programmed electronic music.

Tempo Track Mode

Allows different BPMs at different points on the timeline — gradual ramps, sudden changes, ritardandos. Activate via the Activate Tempo Track button on the Transport panel or inside the Tempo Track Editor.

Tempo Track Editor

Open with Ctrl/Cmd-T or Project > Tempo Track > Open Tempo Track Editor. The editor shows a curve display with BPM on the vertical axis and time on the horizontal axis.

Add a tempo event

Select the Draw tool and click in the curve display. Set the New Tempo Type (toolbar) to Ramp for gradual changes or Step for instant jumps.

Edit existing events

Select with the Object Selection tool. Drag up/down to change BPM, left/right to move in time. The info line shows the exact BPM and position.

Tempo Recording panel

Click Open Tempo Recording Panel on the toolbar to tap tempo in real time during playback — tap a key in rhythm and Cubase records those BPM changes as tempo events. Good for matching a free-tempo recording by feel.

Calculate Tempo from MIDI Events

If you recorded a MIDI performance (piano, pads) without a click track and now want to lock a grid to that performance:

Time Signature Track

Displayed as a row above the tempo curve in the Tempo Track Editor. Click with the Draw tool to add time signature events. Use this when your song has a bar of 3/4 in the middle of otherwise 4/4 material, or when working with odd-meter sections. Time signature changes are instant (no ramp) — they always snap to bar lines.

MixCubes as a Monitor Channel

Your MixCubes should be set up as a second Monitor Channel in the Control Room (alongside your main monitors). In the Control Room panel, the Monitors section lets you switch between monitor sets with a single click — main monitors vs. MixCubes — or add keyboard shortcuts for instant switching.

Cue Channels (Performer Headphone Mixes)

Up to 4 discrete Cue Channels can be created, each with its own independent mix. Every channel in the MixConsole gets a per-cue-channel send with level, pan, and pre/post-fader selection. This is how you send a vocalist a "more me" mix — more vocal, less drums — without touching the main mix.

Cue Send Options

Pre-fader vs. Post-fader

Pre-fader: the cue send level is independent of the main mix fader — moving the main fader doesn't affect the headphone mix. Best for recording sessions. Post-fader: cue mix follows the main mix fader. Use with caution.

Use Current Mix Levels

Right-click a Cue Channel in the Control Room → Use Current Mix Levels. Copies all current main mix fader levels to the cue sends and sets them pre-fader — instant starting point for a headphone mix that mirrors the main mix.

Change Cue Sends Levels (global adjust)

Select channels in MixConsole → right-click the Cue Channel → Change Cue Sends Levels → use Relative Mode to nudge all selected sends up or down together while preserving their relative balance. Useful when headroom is tight and the whole cue mix needs lowering.

Source selector (Mix / Ext / Cues)

In the Control Room cue channel controls, the source selector determines what the performer hears: Mix = a copy of the main stereo mix, Cues = the custom cue send mix you've built, Ext = an external input.

Metronome Click to Cue Only

In the Control Room cue channel section, there's an Activate Metronome Click button and a Click Level control per cue channel. Enable click for the performer's cue mix without it bleeding into the main mix or your studio monitors.

Accessing the Channel EQ

In the MixConsole, click Set up Window Layout → activate Channel Strip. The strip appears below the fader section. The EQ section is the second module from the top (labeled EQ with 4 band controls). Click the EQ section header to expand it. Alternatively, click Edit Channel Settings (the E button on any channel) to open the full Channel Settings window which shows the EQ curve display.

The 4 EQ Bands

Each band has three controls: Gain (±24 dB cut or boost), Frequency (20 Hz – 20 kHz), and Q-Factor (bandwidth — higher Q = narrower, more surgical; lower Q = wider, more musical). Click the band's on/off button to enable it.

Band Types and When to Use Each

Parametric (Bell)

The default for bands 2 and 3. Boosts or cuts a bell-shaped frequency range around the center frequency. The width is controlled by Q. Use for: targeting problem resonances (narrow boost to find, narrow cut to remove), adding presence, taming harshness.

Low Shelf (Band 1)

Boosts or cuts all frequencies below the shelf frequency by a fixed amount. Gentler than a cut filter. Use for: adding or removing overall weight/warmth, controlling proximity effect on vocals.

High Shelf (Band 4)

Boosts or cuts all frequencies above the shelf frequency. Use for: adding air and brilliance (gentle high shelf boost around 10–16 kHz), taming harsh high-frequency content.

High-Pass Cut (Band 1)

Removes all content below the cutoff frequency. Essential for eliminating rumble, handling noise, sub-bass build-up on non-bass tracks. Use on virtually every track except kick and bass — typically 80–120 Hz on synths, 120–200 Hz on vocals.

Low-Pass Cut (Band 4)

Removes all content above the cutoff frequency. Use for: removing harshness and digital high-frequency artifacts, filtering synths for warmth, taming harsh room sound.

EQ in the Channel Settings Window

Click the E button on any MixConsole channel to open the full Channel Settings window. This shows a visual EQ curve display where you can click and drag nodes directly on the curve to adjust frequency, gain, and Q simultaneously. The curve display gives you a graphical overview of your EQ shape — much easier than working with the numeric controls in the strip alone.

Drag a node

Left/right = change frequency. Up/down = change gain.

Scroll on a node

Mouse wheel = adjust Q (bandwidth).

Bypass the whole EQ

Click the EQ Bypass button (the power icon on the EQ section header) to A/B your EQ against the unprocessed signal.

EQ Presets

Click the preset browser arrow in the EQ section header to save and load EQ settings. Save your vocal EQ shape as a preset and load it as a starting point on every vocal track.

Channel Strip EQ Position

The EQ can be positioned before or after the dynamics modules (gate, compressor) in the signal chain. Right-click the EQ section header → Move EQ > Pre Dynamics or Post Dynamics. EQ before compression is more common for most sources. EQ after compression is useful when you want the compressor to respond to the unprocessed tone.

Quick Reference — Common EQ Moves

Quick Audio Export (New v15)

File > Export > Quick Audio Export or toolbar button. No dialog. Auto-detects range from events (ignores locators). Outputs 24-bit WAV at project sample rate or MP3 at 256 kbps / 44.1 kHz. If an Arranger Chain is active, it defines the export range.

Export Audio Mixdown Dialog

File > Export > Audio Mixdown. Full control over all export parameters.

Single Channel

Export one output: Main Mix, a Group, an FX return, or any individual track.

Multiple Channels

Export several channels simultaneously, each to its own file. Use for stem exports. Filter with the Search Channel field.

Export Range

Locators (between L/R locator), Cycle Markers (each marker range = one file), or Arranger Chains (each chain = one file).

Export Queue

Add multiple export jobs with different settings. Run them all in one batch operation.

Naming Scheme

Auto-name files by channel name, date, or custom tokens via Set up Naming Scheme.

File Formats

Stem Export

Real-Time Export

Cubase automatically uses real-time export when external instruments or outboard effects are in the signal chain. The export plays back at normal speed so hardware can process audio. Plan for longer export times when hardware gear is involved.