- Spectralayers pro five videos update#
- Spectralayers pro five videos software#
- Spectralayers pro five videos tv#
Audio Alignment: This is a simple version of what Vocalign does and it does a pretty good job.
Spectralayers pro five videos update#
The most useful aspect of this is before you run the Export, you can go back and make changes to any of the Queues you have set up and update them, simply by clicking on the arrow which will now display as orange to indicate that a change has been made.Ĭubase offers a few useful tools which offer processes usually only available if you buy third-party software.
Spectralayers pro five videos tv#
The length of the mixes can be based on their location markers (start to finish), but for those who work in TV and Film, you can get Cubase to Export the different Cues in batches. The clever part in this is you can choose as to whether you want the channels/STEMs to be DRY (no processing at all), Default (channel strip processing only), CSP (channel strip + FX Sends used) or CSPM (the whole signal path from channel to mix bus). Here you can set and add different Queues depending on the needs of the client.įor example, you can set up a Stereo mix, but in addition to this, you can run off individual or groups of audio tracks, as well as STEMs.
This is essentially an automated process that you can set up to save you some time and sanity. However, in Cubase they have tried to simplify and help with the process by creating an Export Queue in the Export Audio Mixdown window. Genius!Įxporting a variety of Mixes, STEMS and Cues can be quite a laborious task. In addition to the monitors, I can even add inserts on to the Headphone Cue mixes for the artists too.īecause the Control Room is separate from the Mix Bus output, it means that I don’t need to switch off Sonarworks and end up accidentally printing the calibration to the mix. Then every time I switch monitors, it switches the calibration profile too. But not now, because each monitor has the ability to have its own plugin, I can instantiate Sonarworks on each monitor and call up the calibration. Now if you are like me and have Sonarworks (Sound ID Reference), changing monitors and the calibrations can be a real pain in the rear. The pièce de résistance within the Control Room is the fact you can add inserts.
Spectralayers pro five videos software#
It is very much integral to the VST Connect software when communicating with the Artist too. Then when it comes to communicating with the talent, it has a Talkback button that can either be clicked on with the mouse or like I have, you can assign it to a hot key in my case this is the Tilde § key. In my situation at home, I have 3 sets of reference monitors that can easily be switched from within Cubase rather than having to use the Apollo Console software. Again, this is very dependent on whether your interface has sufficient outputs. There is also the ability to set up to 4 different Monitors that can be easily switched over without the use of a hardware controller. This is a dedicated section so as not to be confused with any effects sends that you might have going on. The ability to mix the Headphone Cues is taken care of on the Mixer window. They each can be independently adjusted in terms of their overall output level, the amount of click track volume and if it needs to be panned, as well as whether the Talkback is engaged or not. The Control Room allows you to create up to 4 Headphone Cues that can be routed discretely, providing you have an interface with enough Line Outputs. When you enable this in Cubase, it takes over all of your outputs and it is separate from the Mix Bus, which is incredibly useful as you’ll see shortly. The Control Room can only be found in the Cubase Pro version and once you understand its benefits, you quickly realise that this is a powerful feature, not to mention a great time saver when you work in the box.
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