Exporting Cubase Projects

By John Walden

Thinking of collaborating with other musicians/engineers? Here's how to prepare and share your Cubase project data.

Last month we looked at backups and basic future-proofing of projects made in Cubase Elements, Artist and Pro, from the perspective of personal data security and peace of mind. Some different considerations can apply, though, when you want to export your project to share it with collaborators. In this article, I'll consider the sort of data export processes that this typically requires, whether your collaboration involves working remotely with a musical partner, sending your project to a professional mix engineer, or perhaps dealing with a mastering engineer. To avoid confusion, I'll highlight any overlaps with the data-security side of things that I explored last month.

With Or Without You

If sending a mix engineer your raw tracks, resetting the MixConsole can save a lot of time.If you and your collaborator both use Cubase and the same plug‑ins, the Back Up Project process described last month may be all you require. And if you each use different DAWs but your collaborator will only be adding a few overdubs, last month's audio render process (including all the channel-level processing) would give them plenty of scope to create a cue mix.

When sending your project to a mix engineer, though, an audio render of each audio and virtual instrument track, without any of your own channel-level or mix-bus processing applied, and all starting at bar 1, beat 1, will almost always be the format of choice. Before applying the rendering approach described last month, you could first bypass any insert effects and Channel Strip processing on the tracks you're exporting, but in this context a 'mixer reset' will be quicker and probably more effective.

To do this, first save a new copy of your project with a suitable 'for the mix engineer' name. Then, from the Functions drop-down menu in the top-right of the MixConsole (left of the Racks menu), select Reset MixConsole Channels and choose 'all channels'. This will zero the MixConsole, rather like putting all the controls of a hardware mixer back to their default position. It removes all insert plug‑ins, including those on the Group, FX and Stereo Output tracks, and resets all Channel Strip settings, including the EQ. It will pan every track to the centre, and set all faders to the 0dB (unity gain) position. Then you can render all of the audio and virtual instrument tracks to provide a clean slate for your mix engineer.

All Out Drums

Multi-channel VSTis can require more work, the most obvious candidates being drum instruments like Groove Agent (GA) SE. By default, such instruments have internal mixing options and present only one stereo output to Cubase, but a mix engineer will usually want separate tracks for each virtual mic.

As shown here for Groove Agent SE, you can configure your multichannel virtual instruments so that separate audio renders can be made for each sound.

The first step is identical in all versions of Cubase: you need to configure your virtual instrument to use multiple outputs, and inside the VSTi route each 'mic' to the desired output track. Taking GA SE as an example, you can see how I've set things up in the screenshot. I used the drop-down menu to activate five additional outputs — these manifest themselves as Tracks in the Project window and MixConsole. Right-clicking on a drum pad in GA SE pops up a further menu where you can route individual pads to any one of these outputs. It's also sensible to ensure that any default insert or send effects in your VSTi's internal mixer are bypassed (unless they're integral to the sound you want the mix engineer to work with).

Once you have your VSTi configured for multichannel output, Pro and Artist make it easy to generate audio renders for each channel.Then you can render audio for each of these new outputs. In Elements, simply follow the (repetitive, yet effective) process I described last month: solo one output channel of your VSTi at a time, and use Export Audio Mixdown to render each one in turn. Artist and Pro make this step easier: select the main Instrument track in the Project window and execute the Edit/Render In Place command. For the 'Render Settings', selecting 'Dry' will bypass any channel-level processing to ensure your mix engineer gets unprocessed audio. Audio from each of the VSTi output channels will appear on new audio tracks in the project, and the audio files will reside (by default) in the Project's audio folder.

Note that Cubase's Export/Audio Mixdown command allows you to export only mono or stereo, but not both simultaneously, and some mix engineers prefer mono files for mono parts, so you may have to do two export passes.

Stemming The Flow

Your export needs will be different for mastering. Most commonly, you'll supply just a final stereo mix, via Export Audio Mixdown (perhaps with and without any stereo-bus processing you've used). An alternative scenario is when the mastering engineer will be working with 'stems', and you're asked to supply stereo submixes of drums, bass, guitars, keys, vocals, backing vocals, etc. This is easier if you've already used Group Channels while mixing: in Elements and Artist, each Group Channel can be soloed in turn and rendered via File/Export/Audio Mixdown; Pro's multichannel batch export capability lets you generate a stereo audio render for all Group Channels simultaneously.

Cubase Pro's batch processing options in the Export Audio Mixdown dialogue allow instrument group stems to be created with ease.If you don't normally use Group Channels, a little more care is needed when creating stems. A visual reference can be helpful, so colour-code all the project channels by instrument group (red for drums, blue for bass, etc). Then, one colour-coded section at a time, solo just the tracks within a single instrument group and perform an Export Audio Mixdown process to create an audio file for that stem. This process will work in all versions of Cubase.

Don't forget to bypass any master-bus processing while you do this — it's intended to apply to your full mix rather than individual stems from that mix. You're OK leaving master-bus EQ intact if you've been mixing through it, but always make sure any dynamics processors (compressors, expanders, limiters) are bypassed.

Time For MIDI

Moving raw MIDI data between collaborators is generally straightforward; all versions of Cubase can export a standard MIDI file, and this will contain data from the Tempo track. This might be useful if, for instance, a collaborator will be trying to create a better MIDI-based drum performance in a third-party instrument based on what you created with GA SE.

All versions of Cubase can export a standard MIDI file, and this will contain data from the Tempo track.

Cubase Pro supports both AAF and OMF export and import — neither's a perfect format, but some collaborators might request these formats.If your collaborator is importing into another version of Cubase, they should start without a new project open and use the MIDI File Import menu option. This creates a new project and ensures the tempo data is imported alongside the other MIDI data, and they can then import any audio into that project. In other DAWs, though, your collaborator may need to check some preferences/settings. For example, in Logic Pro, they'd need to enable the Import Tempo option under Preferences/General/Notifications. This kind of detail aside, the most time-consuming aspect of MIDI imports will usually be configuring virtual instruments to match the desired playback character. Notes will be fine, but control parameters (even velocity mapping) and any keyswitching can vary enormously.

Industry Standards?

I've deliberately avoided mention of Open Media Framework (OMF, available in Cubase Pro only) and Advanced Authoring Format (AAF, available in Artist and Pro). Both are standard industry formats, intended primarily for the exchange of audio and video data between different applications, but they each have limitations. Neither is anywhere near being a complete 'audio, video, MIDI and plug‑ins' solution.

So unless a collaborator specifically requests OMF or AAF, I'd stick with project backups, rendered audio and exported MIDI. These low-level formats are reliable, straightforward to use and will, I suspect, have a longer shelf life too. 

Published October 2020

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Cubase: String Theory Part 2

By John Walden

Merge MIDI In Loop can be used to render the notes created by Arpache SX and Transformer to regular MIDI clips for each string part.

Last month we ‘faked’ some string‑arrangements. Now it’s time to add a human touch.

Last month, we used Cubase’s Chord Track, Arpache SX and Transformer MIDI plug‑ins to create an almost‑passable five‑part string arrangement. However, we left off with the ‘performance’ sounding a little robotic, and perhaps a little too busy as well. So this month I’ll explore some more ‘fake it’ options that can create a better impression of ‘human’ parts.

As our quest for realism requires us to edit the MIDI performances, you must first render the MIDI note data that’s being created on the fly by the Arpache SX and Transformer. To do this, go though each track in turn: solo the track and action the Merge MIDI In Loop command (in the MIDI menu). As you do this, enable the Include Inserts and Erase Destination options to ensure both that the replacement MIDI clip contains the results of both Arpache SX and Transformer, and that the original sustained notes are deleted. Finally, bypass or remove the instances of Arpache SX and Transformer.

Thin On The Ground

Five arpeggiators can generate lots of notes, so start by thinning out the parts a little. For example, the cello and double‑bass are often played more sparsely than the other strings. Suitable arpeggiator settings (for example, quarter‑note rather than 16th‑note step sizes) may already have helped, but further note muting may be required. It’s more common for the violas and violin parts to be a little busier but, even so, thinning these out a little can work wonders, especially if it helps the sequence ebb and flow between the different instruments.

Prudent thinning out of the arpeggiator note data can create more interesting rhythmical interplay between the different string lines.

Note‑thinning can also be used to create a more distinct rhythmic feel. For example, simply muting some notes in a continuous 16th‑note pattern can change the rhythmical emphasis of the part. This can be enhanced further if, in some sections of the sequence, you let different instruments emphasise different beats, while at other points you have instruments playing in unison.

Once satisfied with your thinning, unwanted muted notes can be deleted. To save doing this manually for each note, select all the MIDI clips and, from the MIDI menu, navigate to Logical Presets/standard set 1, and select the ‘delete muted’ option. It’s a really neat time‑saver!

While editing, another useful feature is the Key Editor’s ability to overlay multiple MIDI parts: you can see and edit, for example, the MIDI notes for both the 1st and 2nd violin parts in one window; enable the Key Editor’s Event Color controls in the toolbar if you want to see each part in a different colour.

Performance articulations are important if you want your virtual string performance to sound convincing.

The Art Of Articulations

Performance articulations are important if you want your virtual string performance to sound convincing. The HSSE3 Pro Large Strings VX preset used for my worked example includes two spiccato (short note) articulations; f and ff (loud and very loud). These suit the performance style I was attempting so, in most of the parts in my arrangement, I used the ff articulation on the first and third beats of a bar and the f articulation elsewhere, for some subtle variety and rhythmic emphasis.

For Cubase Pro users, the Expression Map system can be used to add and edit any required articulation changes.

For Large Strings VX, the keyswitches (MIDI notes outside the playable range of the instrument) for spiccato f and ff are D#0 and E0. Adding either note to the MIDI sequence means that from that point on any notes in the instrument’s playable range will play back using the corresponding articulation. For Cubase Pro users, the Expression Map feature is a more elegant articulation‑switching option. See the SOS January (https://sosm.ag/cubase-0110) and February 2010 (https://sosm.ag/cubase-0210) columns for more on this but, essentially, articulations can be displayed and their use sequenced in a Key Editor controller lane. There is a catch, though: while the Large Strings VX preset is supplied with an Expression Map, most third‑party VSTis are not. Still, creating one yourself is a straightforward, one‑off job, and there are some downloadable third‑party Expression Maps on Steinberg’s website too.

Less Perfection!

The Logical Editor can be used to add accents on the beat (top) and some subtle randomisation to velocity and timing (bottom) to improve the realism of the performance.

Some subtle velocity and timing variation can also help things feel more real. This can be accomplished with manual edits and in some cases (eg. adding a velocity data crescendo at the end of a phrase) this is the easiest method, but Cubase also offers some shortcuts. For example, in many forms of music accenting notes that fall on the beat can clarify the rhythmic nature of the performance: a Logical Editor preset will do this for you. With the desired MIDI clip(s) selected, from the MIDI menu, select the Logical Presets/experimental/downbeat accent (4/4) option (it assumes your time signature is 4/4). The settings this applies are shown in the screenshot; open this preset in the Logical Editor and you can adjust these to taste.

To my surprise, I found that the current collection of Logical Editor presets lacks a simple ‘humanise’ option, but the commands required to create your own preset are simple, as shown in the final screen. In the upper pane, the preset selects all objects in the selected clip that are notes. It then applies two actions, defined in the lower pane, which apply a small amount of randomisation to each note’s velocity (cryptically labelled Value 2!) and start position. Adjust the values if you want more or less ‘humanisation’.

Top Tunes

If you wish, without manual editing, to add a more defined top‑line melody or counter‑melody (counterpoint) to your arp‑inspired string arrangement, the StepDesigner MIDI plug‑in is worth exploring. StepDesigner makes it easy to experiment with adding and subtracting notes to/from a short sequence, and put a Transformer plug‑in after StepDesigner and whatever changes you make in the step sequence can be automatically corrected to a key/scale combination. Once you have something you like, Merge MIDI In Loop can again be used to render the result as a conventional MIDI clip for further manual refinement.

For more semi‑automatic approaches to top‑line melody creation, Cubase has plenty more to offer. In particular, you might like to dip back into the Cubase workshops from November 2019 (https://sosm.ag/cubase-1119) or November 2013 (https://sosm.ag/cubase-1113).

Next Steps

In my main example, I started with a sequence of simple sustained chords, divided the chord notes between various string sub‑sections, and then applied some arpeggiator ‘magic’ to create single‑note performances for each instrument. But other starting points can also deliver interesting results. For example, rather than split the notes from the chord sequence before applying the arpeggiation, you could start by applying a single instance of an arpeggiator to the full chords. Transformer can be used again, to keep everything in the desired key/scale, and once you have something promising, Merge MIDI In Loop can create a conventional MIDI clip with all the notes from the arpeggiator. The notes from this clip can be copied to each individual string‑instrument track for manual editing. For comparison, I’ve included another audio example using this alternative starting point; you’ll find all examples at http://sosm.ag/cubase-1220. The two approaches have generated different, but complementary musical, outcomes from the same chord sequence starting point.

 cubasestringtheorypart2audio.zip

I’ve kept things simple here to demonstrate the workflow, but if you want to attempt a full orchestration, there’s nothing to stop you applying the same ‘fake it’ approach to the brass or woodwind sections. That said, if the results are going to have a chance of sounding authentic, our arp‑based cheats will need to be applied with some sensitivity to the roles and ranges the various instruments generally play, and to that end a little knowledge can go along way — so I’ll point you once again to Dave Stewart’s ‘The Sampled Orchestra’ series (https://sosm.ag/the-sampled-orchestra-pt1) and leave you to do some homework! 

Published December 2020

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Cubase: String Theory Part 1

 By John Walden

To pull off this ‘string fakery’ trick, you’ll need a set of multi‑articulation strings sounds. Cubase Pro’s Large Strings VX is a usable ensemble patch, but plenty of good‑quality alternatives offer more flexibility, including Spitfire Audio’s free BBC Discover library.

Cubase can help you write and arrange realistic string parts.

Credible string arrangements can add a real touch of class to your productions. Dave Stewart’s four‑part Arranging For Strings (part 1: https://sosm.ag/string-arranging-pt1) and nine‑part The Sampled Orchestra (part 1: https://sosm.ag/the-sampled-orchestra-pt1) are great places to start learning, but in the meantime Cubase offers some tools that can help you get ideas down quickly. There’s lots of ground to cover, so I’ll cover this subject in two tutorials, Part 1 this month and Part 2 next.

Cubase includes some impressive virtual instruments, but multi‑articulation (performance‑style) orchestral sounds are thin on the ground. Still, the Large Strings VX preset in the Halion Sonic SE Pro soundbank that comes with Cubase Pro is very usable. It includes eight articulations, and while it’s an ensemble patch (all strings at once, rather than in separate instruments) it’s good enough for the examples that follow.

If you want a more capable library with separate string instruments, a third‑party option I can recommend is Spitfire Audio’s BBC Discover. It’s inexpensive anyway but free if you’re prepared to sign up and wait two weeks. It’s a super‑compact taster of the full version of their BBC Symphony Orchestra library, and includes separate bass, cello, viola and violin patches, each with long, spiccato, pizzicato and (with the exception of the double bass) tremolo articulations. If you want something more fully featured than this, and are prepared to pay, check out the aforementioned Dave Stewart series for some recommendations.

Strike The Right Chord

Once you’ve chosen your instrument(s), add some tracks to a Cubase project. Even if, as here, you’re using an ensemble patch, create separate tracks for double bass, cello, viola and first and second violins, as this is how they’d conventionally be arranged/scored in a real orchestra.

For the example, I aimed to create a kind of rhythmic performance based on short (staccato) notes. But whatever performance style you want, the starting point when ‘faking it’ like this can be the same: a single MIDI part with some simple, sustained chords to define the chord sequence. These can be played in, or created using the Chord Pads (www.soundonsound.com/techniques/strike-chord).

Cubase’s Chord Track allows you to explore your initial chord‑progression options and then makes it easy to create a clip with the sustained MIDI notes you need to get started.

For my example, I used the Chord Track (see June 2013: www.soundonsound.com/techniques/re-chord-industry) to create a simple four‑chord sequence, using an HSSE acoustic piano preset. Once happy with the sequence, I selected the piano track and executed the Project/Chord Track/Chords To MIDI command. This created a MIDI clip on the piano track containing block chords derived from the Chord Track.

String Roles

Generally, each string subsection in an orchestra will play one note at a time. By combining the notes from each subsection, a full chord can be voiced. If more notes are needed, a subsection may play divisi (divided in two, each half playing a different note), but this halves the impact of each note. You can break such conventions when using virtual instruments, but I’ll aim for realism here (as you must do if writing parts that will later be played by a real string section).

Your next task, then, is to allocate the notes of each chord across the five string subsections. An easy starting point is to assign the highest note to the first violins, the second highest note to the second violins, the next to the violas. The lowest goes to the double‑basses, but can be doubled an octave (or perhaps a fifth) higher by the cellos. For our block four‑note chords, it’s easy to copy the MIDI clip to each of the respective string MIDI tracks and then delete/mute the excess notes in each copy, leaving only the notes required for each subsection.

Check that the notes are in a suitable octave for the real instruments: A7‑G3 for the violins; A6‑C3 for the violas; A5‑C2 for the cellos; and G4‑E1 for the double basses. For my example, I ensured the notes were in the lower/mid portion of each instrument’s range, leaving me some room to tweak.

For something that’s rhythmically and harmonically more adventurous, a MIDI arpeggiator plug‑in or, better still, several of them, can help.

Inspiring Arps

Arpache SX offers plenty of creative options. Shown here are settings for my viola (upper) and double‑bass (lower) parts. The MIDI clips in the background show the eventual output from the arpeggiation process for each of my five string parts.When a little velocity and volume automation is added, and appropriate articulations are used, the sustained single‑note parts for each subsection can combine to make perfectly acceptable string ensemble chords. But it’s not much of a ‘performance’, so for something that’s rhythmically and harmonically more adventurous, you can turn to a MIDI arpeggiator plug‑in or, better still, several of them.

There are several possible options here, but one is to place individual instances of your arpeggiator on each of your string tracks. For the example, I did this with Cubase’s Arpache SX and followed each instance with a Transformer MIDI plug‑in. The latter’s Transpose To Scale function is essentially a MIDI note pitch‑correction processor, and here it ensures that Arpache SX’s output will always remain harmonically correct. (Of course, ‘wrong’ notes can sometimes sound cool too, so you can always experiment with bypassing Transformer to see what happens.)

The key to coaxing something interesting from this setup is to use different settings on each instance. In the screenshot, the upper instance of Arpache SX is used for the viola. A Step Size of eighth‑note triplets is combined with an Up Transpose setting, one Repeat and a Pitch Shift setting of 5. This results in a fairly brisk sequence of short notes from each of the sustained notes going into the arpeggiator. In contrast, for the double‑bass, I used a quarter‑note triplet setting with the Transpose off. This produces a less busy but still rhythmic performance, in which the pitch simply follows that of the input. When the two parts are combined, their rhythmic interaction is pleasing, and there’s also some melodic content.

Transformer’s scale‑based MIDI pitch‑correction can make experimenting with arpeggiator settings much easier.

Hand‑built By Robots

By applying these principles across all five string tracks, with suitable experimentation (and a bit of luck), your arp‑fuelled string section will hopefully now play something that: (a) is rhythmically interesting; (b) has harmonic movement that follows the chord changes; and (c) remains in the correct key/scale. The performance might sound a little robotic and perhaps a little on the busy side, so next you’ll probably want to turn your attention to some manual editing. And that’s where we’ll pick up next month.

In the meantime, check out the audio examples (https://sosm.ag/cubase-1120) that illustrate the steps we’ve taken so far and, by way of a teaser, also reveal how the same arrangement will sound after a little more tweaking.

 cubasestringtheorypart1.zip

Published November 2020

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Cubase 11: The Multiband Squasher

By John Walden

Example 1: Squasher, used in two‑band mode to even out a recording of a bass guitar performed with too much dynamic variation.

We explore four ways to make the most of Cubase 11’s new multiband Squasher plug‑in.

The new Squasher plug‑in Cubase 11 (Elements, Artist and Pro) has obvious appeal as a ‘make it loud’ tool for EDM but, with downward and upward compression, multiband operation and band‑specific side‑chains, it’s capable of much more. To help you get started, here’s my choice of four things to try with Squasher. You’ll find audio examples for each tip on the SOS website (https://sosm.ag/cubase-0321).

Ups & Downs

In most contemporary mixing contexts, mix‑critical elements such as bass and lead vocals need to maintain a broadly consistent level throughout. Conventional (downward) compression has its place, but detailed volume automation and plug‑ins such as Waves’ MV2, Vocal Rider and Bass Rider offer additional possibilities. As well as bringing down the peaks, they can also raise quieter notes/sounds. Squasher can do this too.

Example 1 screenshot (and audio example) shows how I treated an electric bass guitar part. My aim was to achieve a more consistent signal level without resorting to heavy (and more noticeable) downward compression of the signal peaks. Squasher is set to two‑band mode, with the split around 200Hz, and each band applying upward compression to make quiet notes louder and downward compression to make louder notes quieter.

The Up and Down ratios can be adjusted to taste; alongside the Up and Down thresholds, these allow you to dial in as much/little upward and downward compression as you require. I also used the global Mix control to blend the original and processed signals to taste: essentially, this is parallel compression, and the end result is a part that’s much more even and easier to sit in the mix. As a bonus, the Gain for the two bands lets you adjust the tonality of the bass while mixing and, if you want to dig even deeper, you can also open the Parameter panel and adjust the compressor attack/release times for each band.

Detail Enhancer

As it relies on upward compression, my second example — making low‑level detail in a performance more prominent — isn’t a million miles from the first, but the musical target is different. Two common applications are: (a) making ghost notes in a snare track more audible; and (b) enhancing the level of percussive elements in an acoustic guitar recording. In both cases, these lower‑level elements can be important to the character of the performance, but might require adjustment to be satisfactorily balanced alongside other elements in the mix.

Example 2: Squasher’s ability to apply upwards compression is great if you need to make low‑level details in a performance more prominent; it’s used here to raise ghost notes in a snare track.

Example 2 screenshot shows a Squasher instance applied to the close snare mic in a multitrack drum recording. It also features two‑band operation but this time the split is around 100Hz. The low band has a high gate setting and no upward compression applied, so as to reduce bleed from the kick drum into the snare mic, and prevent upwards compression making any bleed louder. The bulk of the snare sound occurs at 100Hz and upwards. For this band, I’ve applied both downward and upward compression.

As demonstrated in the audio examples, the latter catches any ghost (softly played) snare strokes, and the degree of upward compression can control just how loud these get relative to the main snare hits. It’s a simple means by which these sorts of low‑level playing details can be drawn out and placed within the overall mix without impacting upon the louder parts of the same performance.

Drumtastic

Squasher can be used to inject some intensity into drum loops. Example 3 screenshot (with accompanying audio example) shows some settings I used to add an edge to a fairly ‘vanilla’ electronic drum loop. I’ve used all three Squasher bands and set the frequency splits so that the low band is focussed on the main energy of the kick, the mid‑band on the snare and the high‑band on the hi‑hats. If required, the Gain settings for each band can be used to adjust the balance between these three elements (here, I’ve boosted the lows and highs). Experimenting with the upward and downward compression settings for each band allows you alter the amplitude envelope for each ‘hit’ in some interesting ways.

Example 3: If your drum loop feels a little tame and uninspiring, full‑on Squasher might add just the edge required.

I’ve deliberately gone for something big and splashy: in each band, a fairly conventional amount of downward compression is combined with completely over‑the‑top upward compression (a combination of high Up ratio and threshold settings). Combined with a fast release, this brings out the tails of each drum hit, and in the audio file it’s particularly noticeable in the hi‑hats. Slower attack times allow transients to pop through, to retain a sense of impact. I’ve also applied some Drive to each band, for a little extra grunge. The ability to solo and disable individual bands can be very useful when you’re tweaking the various compression settings.

Squasher, then, can be a very useful source of ‘attitude’ if your drum loop needs a push. It’s worth noting that, while I might have sacrificed good taste for an in‑your‑face result here, the global and per‑band Mix controls allow you to dial things back a little.

Rise & Fall

As with Cubase’s other multiband processors, each band in Squasher can be set to respond to a different side‑chain source. This can have a number of applications but the screenshot for this example (Example 4) shows an instance of Squasher inserted on a rhythm guitar bus. The guitars in question provide a chunky, slightly overdriven sound, occupying a broad frequency range. The high‑frequency band (above 2kHz) is used, as before, to provide fairly gentle upward and downward compression. However, two different side‑chain input sources (the side‑chain input sources can be configured via the side‑chain settings drop‑down dialogue in the plug‑in’s top menu bar) are used to control the compression applied to the guitars in the low (below 200Hz) and mid bands.

Example 4: The ability to use different side‑chain input sources within each of Squasher’s bands makes it a great tool for ducking a target such as rhythm guitars or synth pads out of the way of things like bass or vocals.

For the low band, the bass guitar provides the side‑chain input — so when the bass plays the low‑end of the guitars is ducked, allowing the bass to be heard more clearly. In between the bass notes, I’ve also applied a modest amount of upwards compression, so that these frequencies in the guitars are raised by a dB or two to gently fill in the low‑end space.

The same combination of side‑chain triggered downwards and upwards compression of the guitars is applied to the mid band. This time, I’ve used a vocal track as the side‑chain signal. During vocal phrases, this ensures that the voice isn’t masked by the guitars’ mid‑range. But when the vocal is absent, the guitars’ mid‑range is boosted slightly, to make them more prominent.

You can configure multiband side‑chain‑driven compression in other ways in Cubase 11, but Squasher provides a neat one‑stop‑shop for this kind of task. It’s worth noting, though, that unless you want obvious pumping, you should use fairly slow attack and release times, and low ratio settings for the upward compression.

Freshly Squeezed

As with any compression task, you must tailor the settings to the source, but hopefully these examples will inspire you to explore Squasher further. There are plenty of other applications for it, including hyping your latest EDM mix — indeed, Squasher is impressive in that role, but as with most master‑bus processing do take care and pay attention: it’s just as easy to ruin a good mix as it is to enhance it!

Each band in Squasher can be set to respond to a different side‑chain source.

 

Published March 2021