using my new virus with cubase sx 2

[monostereo]

hi guys, another noob question coming up...

Right ive got my indigo hooked up to the phono 'line in' inputs on my soundcard (audiophile 24/96).

In my mixer view(cubase sx 2) it shows the sound from the virus coming in on an audio line in channel, and in order to hear the virus i have to select 'monoitor' mode on my soundcard.As well as the line in channel, there is also a midi control slider for it. is this right so far? should there not be an audio slider for the virus that allows me to add effects and aloter volume, as i would a vsti? - or does outboard gear work differnetly?

Also, am i right in thinking each time i want to use a new patch in one of my tracks, i have to bounce whatever's in the virus's midi channel to audio?

i await enlightenment!

Cheers, matt

[Lukas]

Also, am i right in thinking each time i want to use a new patch in one of my tracks, i have to bounce whatever's in the virus's midi channel to audio?

i think YES!



hello all I have instaled my Virus C like a VST, tell me one thing,

how can i Use It in multimode? to have different FX like EQ, reverb, delay, and others fx's from Waves, on other sounds from Virus, in Realitime of course?

How can i do it ?

do not want do add new topic, cos its a simple question for you, Guys :) but i cant find ans answear. :) well.

[Drammy]

monostereo, sorry Lukas has blatantly hijacked your post.

You should be able to add an audio track in Cubase, assign the input to be the input of your Audiophile, then turn the channel's monitoring on (speaker symbol in the object inspector). The rest depends on your soundcard, eg I have an RME HDSP and I go into my soundcard mixer and mute the inputs, I then go into the Cubase > Deices > Device Setup and turn off Direct Monitoring on the Soundcard.

You should now have the Virus output coming in on the new channel you have just created. If you are controlling from another synth or have local off on the Virus then don't forget to be on the correct MIDI channel when playing Virus. People often leave the audio channel selected and try playing MIDI, this of course won't work.

With an Audiophile, yes you will need to bounce the audio down everytime you want a new track playing through the Virus. With another soundcard with more inputs this would only be necessary once you have used all the inputs.


Lukas, my hijacking friend, I think you need to explain a bit more - how have you created you Virus C as a VST? Despite it perhaps being a simple question - I would advise starting a new thread or it may get ignored...

[jasedee]

eg I have an RME HDSP and I go into my soundcard mixer and mute the inputs, I then go into the Cubase > Deices > Device Setup and turn off Direct Monitoring on the Soundcard.
Permission to Hijack thread????

Can you explain why you dont use your soundcards direct monitoring??? Isnt it hardware monitoring, so no latency???

[/hijack]

[Drammy]

To be honest it is more out of habit.

It works well for me.

Jase, are you saying I will get lower recording latency if using Direct Monitoring? How is your envrionment set up?

I am open to suggestions...

[jasedee]

To be honest it is more out of habit.

It works well for me.

Jase, are you saying I will get lower recording latency if using Direct Monitoring? How is your envrionment set up?

I am open to suggestions...
Well, If you monitor from within Cubase, the signal is being routed into and out of Cubase, introducing some latency. If I monitor from my soundcard, it doesnt go through Cubase, it is hardware monitoring, so the inputs are routed directly to the headphone outputs.

When recording Vocals etc, I never use Cubase for monitoring, I always use the MOTU 2408mkIII Cuemix Console monitoring panel. It would seem you have something similar with the RME...

The difference may be minor, I have never done any tests, but I dont think it affects the recorded signal, just what you are hearing back through the cans...

I dont think it is an issue if just recording synths, but if you are using the soundcard to monitor synths (and not a mixing desk), then it might be a good idea to explore the hardware monitoring options

[Drammy]

Interesting, thanks Jase.

I am trying to remember the reason I ended up using this approach and I think it was so that I can route the audio coming into Cubase.

i.e. say I have the Virus playing a bassline and the Machinedrum playing a kick and I want to duck the bass with the kick, then I have to do this on an audio channel as you cannot reroute the audio inputs anywhere other than the main outputs. So if I want to send them to a group channel I found that I had to use audio channels and monitor the audio channel.

Does that make sense? I think I could do with a lesson in mix console management. It is something I have never been taught and I have simply learnt over many years of trial and failure. I am sure there are many tricks and tips that I could do with.

Here's one that is puzzling me at the moment:

In Cubase SX 3 - I have found that it is best to create about 20 group channels before starting. Otherwise if you run out of group channels and have to add more then you end up being unable to route the audio running through the original groups to the new groups, they just don't appear. Its as if they cascade off one another and you can only route from the newer channel to the older...

Does that make sense - or do you use FX channels - I never use them, perhaps I should experiment with them more!


Drammy

[jasedee]

I am trying to remember the reason I ended up using this approach and I think it was so that I can route the audio coming into Cubase.

i.e. say I have the Virus playing a bassline and the Machinedrum playing a kick and I want to duck the bass with the kick, then I have to do this on an audio channel as you cannot reroute the audio inputs anywhere other than the main outputs. So if I want to send them to a group channel I found that I had to use audio channels and monitor the audio channel.

Does that make sense?
I guess in some instances, like your example, it is better to monitor via SX. Like I said though, if it is just straight tracking/monitoring live inputs like Vox or Guitars, where the player needs to be in perfect time, the hardware monitoring is the go...

Here's one that is puzzling me at the moment:

In Cubase SX 3 - I have found that it is best to create about 20 group channels before starting. Otherwise if you run out of group channels and have to add more then you end up being unable to route the audio running through the original groups to the new groups, they just don't appear. Its as if they cascade off one another and you can only route from the newer channel to the older...

Does that make sense - or do you use FX channels - I never use them, perhaps I should experiment with them more!
I always use FX channels!!! I only use the group channels to group certain sections together ie drums.. I might do some dynamics processing to the individual tracks (snare, kick etc...) and then further dynamics processing on the kit as a whole from the group tracks inserts.

I only use FX channels for my sends ie reverbs, delays, and sometimes flangers/phasers etc...

The thing is though, I have a tendency to look at things traditionally, and often with software there are no hard and fast rules, and experimentation is the key.

[Drammy]

Hmmm, looks like I need to play around some more. Always looking to improve my workflow...


Thanks Jase