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STEINBERG CUBASE LE GETTING STARTED (2682 ko)
STEINBERG CUBASE LE GETTING STARTED (2682 ko)
Manual abstract: user guide STEINBERG CUBASE LE
Detailed instructions for use are in the User's Guide.
[. . . ] Operation Manual
Manual by Ludvig Carlson, Anders Nordmark, Roger Wiklander VST System Link chapter by Rodney Orpheus Quality Control: C. Schomburg The information in this document is subject to change without notice and does not represent a commitment on the part of Steinberg Media Technologies GmbH. The software described by this document is subject to a License Agreement and may not be copied to other media except as specifically allowed in the License Agreement. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Steinberg Media Technologies GmbH. [. . . ] You can open clips in the Sample Editor directly from the Pool by double clicking on a clip waveform icon. One practical use for this is to set a Snap point for a clip (see page 247). When you later insert the clip from the Pool into the project, you can have it properly aligned according to the set Snap point.
Import Medium. . .
The Import Medium dialog is used for importing files directly into the Pool. It is opened by using the Pool menu or by using the Import button in the Pool window.
Clicking the Import button. . .
. . . opens the Import dialog:
The Import Medium dialog is a standard file dialog, where you can navigate to other folders, audition files etc. The following audio file formats can be imported:
· · · · · · · · Wave AIFF AIFC (Compressed AIFF) REX or REX 2 (see page 514) Sound Designer II MPEG Layer 2 and Layer 3 (mp2 and mp3 files see page 515) Windows Media Audio (Windows only see page 515) Stereo or mono
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The Pool
· ·
Any sample rate (although files with another sample rate than the one used in the project will play back at the wrong speed and pitch see below). 8, 16 or 24 bit resolution
In addition, AVI, QuickTime and MPEG video files can be imported into the Pool.
It is also possible to use the commands on the Import submenu on the
File menu to import audio or video files into the Pool.
When you select a file in the Import Medium dialog and click Open, the Import Options dialog will appear.
It contains the following options:
· Copy File to Working Directory.
Activate this if you want a copy of the file to be made in the Project Audio folder, and have the clip refer to this copy. If the option is deactivated, the clip will refer to the original file in the original location (and will thus be marked as "external" in the Pool see page 289).
·
Convert to Project.
Here you can choose to convert the sample rate and/or the sample size (resolution) to the current format used in the project. The options will only be available if necessary (if the sample rate is different than the one set for the project and/or if the sample size is lower than the record format used in the project). Note that if you are importing several audio files in one go, the Import Options dialog will instead contain a "Convert if needed" checkbox. When this is activated, the imported files will be converted only if the sample rate is different or the sample size is lower than the project's.
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The Pool
·
Do not Ask again.
If this is ticked, you will always import files according to the settings you have made, without this dialog appearing. This can be reset again in the Preferences Audio dialog.
You can always convert later should you so wish, by using the Convert
Files (see page 304) or Conform Files (see page 305) options.
Importing audio CD tracks
You can import tracks (or sections of tracks) from an audio CD directly into the Pool by using the "Import Audio CD" function on the Pool menu. This opens a dialog in which you can specify which tracks should be grabbed from the CD, converted to audio files and added to the Pool. For details about the Import Audio CD dialog, see page 511.
Changing the Pool Record folder
The Pool Record folder.
The Pool Record folder is where all audio clips that you record in the project will end up. The Pool Record folder is indicated by the "Record" symbol shown in the Status column, and by a red dot on the folder itself, as shown in the picture above. By default, this is the main Audio folder. You can, however, at any time create a new Audio subfolder and designate this as your Pool Record folder. Select the Audio folder or any audio clip.
You cannot designate the Video folder (or a subfolder in it) as the Pool Record folder.
2. Select "Create Folder" on the Pool menu.
A new empty audio subfolder appears in the Pool.
3. Select the new folder.
The Pool
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4. Select "Set Pool Record Folder" on the Pool menu, or click in the new folders Status column.
The new folder now becomes the Pool Record folder, and any audio recorded in the project will from this point on end up in this folder.
Organizing clips and folders
If you accumulate a large number of clips in the Pool, it may sometimes be difficult to quickly find specific items. In such cases, organizing clips in new subfolders with suitable names that reflect the content can be a solution. For example, you could put all sound effects in one folder, all lead vocals in another etc. [. . . ] As this value can be used as a basis for the "Insert into Project" Pool menu item (and other functions), you can change it if the Origin Time value is redundant. This can be done by selecting the corresponding clip in the Pool, moving the project cursor to the new desired position and selecting this menu item.
New Version
This allows you to create a new version of a selected clip. The new version appears in the same Pool folder, with the same name but with a "version number" after it, to indicate that the new clip is a duplicate. The first copy made of a clip will logically get the version number "2" and so on.
· Copying a clip does not create a new file on disk, but just a new edit version of the clip (referring to the same original file).
Menu reference
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Insert into Project
This allows you to insert clips selected in the Pool to the project. [. . . ]
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