Tuesday, April 7, 2026
Monday, April 6, 2026
Cubase: Exploring The Project Logical Editor
Toggling the bypass status for insert plug‑ins on multiple tracks: a great shortcut for A/B comparison.
Embrace the power of Cubase’s Project Logical Editor, and you can become a workflow ninja!
In last month’s workshop I demonstrated just how powerful the MIDI Logical Editor, found in both the Pro and Artist versions of Cubase, can be for manipulating MIDI data, but as I mentioned in that column Pro users also have something called the Project Logical Editor. This is a similar logic‑driven tool that allows you to simplify complex tasks, but in this case rather than work with MIDI data, it’s used to streamline project‑level tasks. As with the MIDI Logical Editor, if you’re not used to working with Boolean logic, the Project Logical Editor can feel intimidating at first, but exploring just a few example presets will soon get over that initial speed bump.
Better In Or Out?
We’ll start our introductory tour with a preset that’s conceptually easy to understand yet does a super‑useful job. ‘Toggle Inserts Bypass of Selected Tracks’ is found in the Mixing category of the Factory presets and does as the name suggests: action this preset and all the insert plug‑ins on the currently selected tracks will have their bypass status switched, with active plug‑ins put into bypass and bypassed plug‑ins made active. The first screen shows how this is achieved.
As with the MIDI Logical Editor last month, the options in the Event Target Filters panel dictate what objects are to be selected. The Event Transform Actions panel then specifies what changes are to be made to those selected objects. In the upper panel, the ‘Container Type’ is selected if it is ‘Equal’ to ‘Track’ and if its ‘Property Is Set’ to ‘Selected’. This means that only tracks that you’ve selected within the Project or MixConsole windows are going to be changed by any of the commands specified in the lower panel. In that lower panel, a single entry applies a ‘Track Operation’ to the ‘Inserts Bypass’ parameter: it ‘Toggles’ the status of the bypass setting. This preset can be a really useful function for A/B comparisons. For example, you can select all your subgroup bus tracks and quickly bypass their insert plug‑ins to check whether all those mix processing moves are helping as intended, or hindering. Another scenario is use it on one or more tracks to toggle between two instances of an EQ or compressor (or both) that are configured with different settings, to see which you prefer.
And since you can configure a key command to execute any Project Logical Editor preset, once you’ve selected the tracks you wish to work with, a single click lets you toggle the bypass status of all the insert plug‑ins. There are other (equally useful) presets within this Mixing category that provide similar ‘bypass’ options for the sends and EQ panels within the MixConsole — I’ll leave you to explore their potential!
It’s easy to clear out unwanted automation data for only the selected tracks in a specific song section.
Automation Reclamation
Have you ever got deep into a mix and decided that within one section of the song, the mix just isn’t quite right? Stripping out the automation data (for example, volume, pan, EQ, and any send and insert effects) in a single project section can be a time‑consuming process. Thankfully, there’s a Project Logical Editor preset for that: ‘Delete All Automation Data for Selected Audio, Instrument and MIDI Tracks inside Cycle’.
The name may be a bit of a mouthful, but this preset does what it says on the tin. Once you’ve placed the left and right locators around the appropriate section of the project timeline, simply select which tracks you wish to remove the automation data from, then execute the preset. As shown in the screenshot, four entries in the Event Target Filters panel do the heavy lifting. The first two selection criteria identify that ‘Media Type’ that is ‘Equal’ to ‘Automation’ data and that it is ‘Contained’ within an ‘Event’ (ie. an audio or MIDI clip). However, the selection process also considers the third and fourth criteria: the automation data must have a ‘Position’ ‘Inside Cycle’ (between the left and right locators) and the ‘Parent Object Is Selected’ (the ‘Parent’ property is the Track upon which the event sits), so only tracks you have already selected will be acted upon by the preset.
For the automation data that fulfils these combined selection criteria, no transformations are specified in the lower panel. But at the base of the UI, the ‘Delete’ action is specified. When we hit the Apply button, any selected automation data is therefore deleted and replaced by a straight automation line joining the nearest automation points before and after the left and right locators. As a means of cleaning up an unwanted mess of automation data within selected tracks in a portion of a project, it’s a pretty speedy solution.
This preset is a great candidate for DIY modifications. For example, if you select the last of the current criteria, you can use the Insert button to refine the selection further. And if you enter ‘Name’ as the Filter Target, ‘Contains’ as the condition, and ‘Volume’ as Parameter 1, then only volume automation data will be selected. When this revised version of the preset is applied, volume automation is reset but other automation data is left intact — very useful if you just want to rethink the track levels within a song section. Of course, you could also apply the preset across your entire project by simply placing the left/right locators appropriately...
Ready to tidy up your unwanted muted parts?
Refuted When Muted
As I work through a busy project, I’ll often end up with lots of audio and MIDI clips that I muted as I ‘trimmed the fat’ while mixing. Once I’m happy that these elements are surplus to requirements, the ‘Delete All Muted Parts And Events’ preset (in the Parts And Events category) provides a speedy way to declutter. The screenshot shows the selection criteria used to find all the muted elements in your project (as with the previous example, no transformations are applied in the lower panel; the selected items are just deleted when you hit Apply). The key thing to note is how the selection criteria find only ‘Container Types’ that are ‘Equal’ to MIDI ‘Parts’ or (in the Bool column) audio ‘Events’ or ‘Audio ‘Parts’. The final entry then ensures only those Events/Parts that are currently muted actually get selected. Usefully, there’s also a Delete Muted Tracks preset (in the Tracks category) if your project requires a different ‘tidy up’ strategy.
It’s easy to add the date (or other details) to selected track names with the Project Logical Editor.
Make A Date
The final screenshot shows the ‘Add a Date to selected MIDI + Audio Track Names’ preset (from the Naming category). Given our earlier examples, the approach used in the four Event Target Filters panel should feel familiar. The four entries combine to identify all ‘Container Types’ that are ‘Tracks’, and that have the ‘Property’ of being ‘Selected’ and the ‘Media Type’ is ‘MIDI’ or ‘Audio’.
All tracks that meet these criteria (essentially all MIDI or Audio tracks that you have selected within the Project or MixConsole window) are then subjected to the entry in the Event Transform Actions panel. The Action Target is the track’s ‘Name’, and the Operation is set to ‘Append’ (that is, add something to the existing name). In this case, Parameter 2 is set to ‘Std. Names’ (if you click on this, a drop‑down menu of options appears) and Parameter 1 is ‘Date’. When you hit the Apply button, every selected audio and MIDI track has the current date added to its existing name.
For projects you’ll be working on over an extended period of time, adding the date to specific tracks can be a really helpful reminder of how the project has evolved. Which vocal take was the original? What’s the most recent version of the saxophone solo? And, if you work with collaborators and want to keep track of who added what to a project, you can simply adapt this preset by clicking on the ‘Date’ entry in the Parameter 1 column and type your own text such as your name or initials. Run both this modified version and the original ‘Date’ version, and every track you select can get your name/date added to its name, making it easy to see who has done what (and when) as the project moves between the various collaborators.
Surface Scratching
The above examples are very much the tip of the Project Logical Editor iceberg, but they should show you the potential for automating some pretty complex tasks. I hope they’ll encourage you to explore the various preset categories to find titles that might be useful to improve your own Cubase workflow. And remember, many of these presets can be candidates for the kinds of simple DIY customisation demonstrated above — even if you don’t feel ready to roll your own presets from scratch.
Combining the MIDI Logical Editor and Project Logical Editor with the use of key commands and the Cubase Macro features (both topics we have covered here in the past but are probably worth revisiting soon) can be absolutely transformative to your Cubase workflow — and bring Cubase ninja status within reach!
Saturday, April 4, 2026
Friday, April 3, 2026
Steinberg update Cubasis and Dorico apps
Steinberg have announced that the latest versions of their mobile music making and
notation apps, Cubasis 3.6 and Dorico for iPad 5.1, are now available. With the arrival
of the updates, both apps now benefit from new built-in instruments powered by the
company’s HALion sampling and virtual instrument engine.
Cubasis
Cubasis 3.6 will now include a free LoFi Piano instrument, a sample-based instrument that offers a blend of vintage and contemporary upright piano sounds and includes a collection of six intuitive built-in effects. There are then another three new offerings available via optional in‑app purchases.
The first, HALion Sonic Selection, is described as the ultimate creation workstation for Cubasis, delivering a library of over 1100 world-class instruments that can be fine-tuned to suit any genre thanks to a set of eight simple controls. Neo FM and Classic FM then offer a range of FM sounds, with the former loaded with next-generation basses, pads, leads and more, and the latter dedicated to recreating the tones of sought-after classics such as Yamaha’s DX7 and TX81Z.
Dorico for iPad
Dorico for iPad has also been treated to an instrument-based upgrade, with users benefitting from a new free set of General MIDI-compatible sounds powered by the HALion engine. Also available via an in‑app purchase is Iconica Sketch, the company’s recently released all-in-one orchestral instrument. Now optimised for iPad, the instrument offers the sound of a complete orchestra with 34 individual instruments and a total of 140 articulations, allowing composers and arrangers to produce detailed mock-ups with just their iPad. The instrument is available via a monthly or yearly subscription, or can be purchased with a one-off Lifetime Unlock payment.
Pricing & Availability
The latest versions of Cubasis and Dorico for iPad, along with the new instruments, are available now, and can be downloaded from the Apple App Store and Google Play Store (Dorico is only available for iPad). Steinberg are celebrating the launch with an introductory pricing offer, with discounts of 25% being applied to the following prices until 8 January 2024.
https://www.steinberg.net/dorico/
Thursday, April 2, 2026
Wednesday, April 1, 2026
Cubase: Managing The Low Mids With Frequency 2
With Frequency 2 inserted on the master bus, you can apply gain reduction only to the low‑mid frequencies, and only when they contain the most energy — this can be an effective tactic if faced with a muddy‑sounding mix and static EQ can’t get things where you want.
Wrestling with low‑mid mud? Cubase’s dynamic EQ can help.
Almost every instrument group in modern music productions can contain significant energy in the low mids (broadly speaking, around 250‑500 Hz), so when mixing you’ll often find that there’s an unhelpful build‑up of energy within this range — if there’s too much going on in this region, a mix might sound ‘muddy’, ‘muffled’ or ‘boxy’, and you need a plan to address that.
There are a number of ways in which this ‘too much mud’ issue might be approached, and careful arrangement and instrumentation choices can obviously play a big part, by which I mean you can write the parts and pick and layer your sound sources in a way that avoids an unhealthy build‑up of energy in the low midrange in the first place. But if further control is required, standard EQ applied at the master bus, on subgroups, at the individual instrument level or a combination of all three can be used to control the energy that sits in this frequency range. Cubase offers several EQ tools that can be used for that, including the Channel Strip EQ, StudioEQ and, for users of Cubase Pro or Nuendo only, Frequency 2.
In addition to normal EQ duties, Frequency 2 provides an additional level of control: dynamic EQ. Compared to a standard EQ, where any cut (or boost) is applied all the time, with a dynamic EQ, the cut (or boost) is only applied when the signal is at its loudest in the target frequency range. There are plenty of third‑party options for those using other versions of Cubase (such as Tokyo Dawn’s freeware Nova: https://www.tokyodawn.net/tdr-nova), but since Frequency 2 comes with Cubase Pro and its GUI makes everything really easy to configure, let’s use it to explore some dynamic mud management tactics.
I’ve also prepared some short audio examples (available on the SOS website at https://sosm.ag/cubase-1223) to illustrate what I’m discussing here.
Mud Master
If you think the correction required is a modest final tweak to an otherwise finished mix, or you’re already at the mastering stage of a project, some corrective low‑mid EQ on your master bus or stereo mix might be the most appropriate, or perhaps even the only option. But even if not, I find it’s often worth trying an instance of Frequency 2 on the master bus before you move on to a more finessed approach. You might be surprised by what you can achieve!
The first screenshot shows the settings I configured for this approach with the mix used in the audio examples. Note that I’ve switched the Frequency 2 display to Sing (single band) mode, as this provides easier access to the full range of EQ controls for a single EQ band (in this case, band three of the eight available bands), including the Dynamics section. The required settings will be dependent upon the source material, of course, but there are some useful guiding principles. I’ve used a peak filter centred at 350Hz and with a Q of 2.5 to deliver 9dB of gain reduction. No, that’s not a mistake! A 9dB cut on the master bus would almost certainly be too much with a conventional static EQ band; as can be heard in the audio examples, it would rob this mix of too much low‑mid energy, making the mix sound ‘thin’. But this won’t be a conventional EQ cut...
Before we engage the Dynamics section, though, there are a couple of points worth noting. First, with this combination of settings, the filter shape means the cut extends a little beyond the 250‑500 Hz range. You can control this by adjusting the Q (larger values make the filter narrower) or gain (smaller cuts also reduce the range of frequencies affected by the filter). Second, when you know you’ll be making the band dynamic, it’s actually not such a bad idea to start by applying a static EQ that produces rather more cut than you think you’ll eventually need. This makes it easier to hear the EQ change, and I find it helps when targeting the initial Freq and Q settings; it’ll be that bit easier to hear exactly where the problem lies.
Applying Frequency 2’s dynamic EQ to subgroup tracks gives you greater control over which instruments are ‘de‑mudified’.
Get Dynamic
Having brought our ‘mud spot’ into focus, we can now engage the Dynamics section. The main control options are Threshold, Ratio, Attack and Release, and will be familiar to anyone who’s used a conventional compressor before. Again, the settings could vary according to the material, but you probably don’t want the gain reduction to be too aggressive. In the example, I opted for a gentle 2:1 ratio, fast (3ms) attack and medium (150ms) release. With those set up, I simply adjusted the Threshold fader, to specify the signal level at which this band‑specific compression started delivering the amount of gain reduction that my ears suggested was required.
The GUI provides some very useful visual feedback, and it’s worth noting that the original Freq, Q and Gain settings control the absolute maximum amount of gain reduction that can be applied, while our Dynamics settings control how often and how far the gain reduction moves towards that maximum position. When there’s more ‘mud’ — that is, more energy within the specified frequency band — more gain reduction is applied so, almost as if by magic, the unwanted mud is dynamically managed. You can hear the result in an audio example on the SOS website for which I applied different Threshold settings to adjust the level of mud reduction. The degree of control is impressive and if you get the balance right, you can tackle the mud without making your mix sound thin.
The Start control lets you combine static and dynamic EQ. I’ve exaggerated the settings here for clarity: the Start setting of ‑6dB (topmost thin white curve) forms the EQ starting point onto which any further dynamic cuts are superimposed.Before we move on, a final thing to note about the Dynamics section is the Start control. This allows you to combine your dynamic EQ adjustment with a static cut/boost. So, for example, if I set Start to ‑3dB, I would get a static 3dB gain reduction applied all the time and this would then form the starting point (hence ‘Start’) from which any further dynamic gain adjustment would applied. Again, the frequency display in the upper panel provides a very intuitive graphical representation of this so it’s easy to see what’s happening.
Group Therapy
If your usual approach to mixing makes use of the group channels to provide separate sub‑mixes of the drums, bass, guitars, keyboards, vocals and so forth, then you can apply precisely the same basic principles at the subgroup level. Simply insert an instance of Frequency 2 on each of group channel and use each one to dynamically control the lower mids of each instrument group.
In principle, this should give you greater control over how and where your mud management is applied, and minimise collateral damage to sources that you don’t want cut. For example, you could use the approach on just your guitar and keyboard/synth buses (common culprits in mud supplies), while avoiding stealing any lower‑mid energy from other instrument groups. Equally, since you’re dealing with single instrument groups, you can generally be a little more conservative (for example, a higher threshold or lower ratio). Cuts are only applied to a specific instrument when that instrument exceeds the threshold, and when combined with similar cuts being applied in isolation to other channels, the overall result should, hopefully, be a mix with a little more clarity.
By the way, there’s nothing to stop you combining both the master bus and group bus approaches, although if the main mud management is done at the group level, you’ll find you can apply much more subtle settings at the master bus, just to catch the occasional 1 or 2 dB of excess mud.
Keeping Your Balance
So, where fader moves and conventional compression and static EQ boosts don’t seem to deliver a satisfying tonal balance (it’s rarely a bad idea to try such bread‑and‑butter tactics first!), looking to these Frequency 2 tactics to minimise the mud can be a great next step. Of course, you could extend the same basic approach down to the individual instrument channel level, though do use your ears to decide if its actually needed — there’s no point processing audio for the sake of it, and if there are complex phase relationships between different sources you should listen out for unwanted side‑effects; unpicking problems you only notice later can be time‑consuming and frustrating!
Another tactic is to use Frequency 2’s external side‑chain input options to duck one or more sources out of the way of a source whose low‑mid presence you want to retain (for example, using the guitar bus to duck a synth bus), but that’s perhaps a topic for another day.