Reverse audio logic pro x 201712/3/2023 ![]() You still need to manually set this up, and you will need to record mono tracks to mono tracks and import will still put mono files on mono tracks. You can now use stereo effects on mono signals. You can place mono tracks on stereo channels and the mono signal will go to both stereo channels. Still very annoying, and this second workaround does not help if you want to live-monitor an effect.Īnother workaround I’ve learned of is to use stereo audio tracks for basically everything. You can simply create a new stereo track, then drag over your effects and audio to the stereo track. When I tested this secondary workaround I was using primarily VST2 still and it did not work properly. If I linked to this then I probably took 5-40 points off depending on how frequently you need to use this idiotic workaround to experience the full-effect of the plug-in in question.Įdit: I was informed of another workaround Apparently most all VST3 plug-ins can be copied over from a mono to stereo track. Many other DAWs allow you to use stereo effects on mono tracks without the added clutter and extra effort. To use a stereo effect on a mono track, you need to create an FX Channel with your track routed to it, then place the stereo effect on the FX Channel. It only works as an amplitude modulator (tremolo) on a mono channel. It can not pan a mono track because there’s only 1 channel. Stereo Effects in CubaseĮvery effect that you put on a mono track is mono. A 0 means that you’re on your own and need to buy entirely third-party products to complete a production, and a 100 means that you’d be a moron if you replaced any of these plug-ins without trying them out really well first. The overall rating is based how well the full package of Cubase Pro fulfills the needs of a musician, producer or recordist. This means that the ‘90 plug-in’ is fantastic when you need it, and the ‘48 plug-in’ is just good enough even if you use it constantly. You may see me rate something that few people would use often as a 90, and another plug-in that’s very useful as a 48. I only consider Magneto II in the context of saturation effects, and Pitch Correct in the context of pitch correction effects. While I may use Magneto II on every project in Cubase, and never use Pitch Correct that does not affect their rating. There is one other thing about these ratings that is very important: they are contextual to the class of process. If the amp/cabinet type displays were better then I may have given it another 2-3 points. If you could load impulses, I’d probably have given it another 5 points. When I learned that you could drag the graphical display elements, I added 2 more points. I originally had this labelled a 4, but when I tried it with bass guitar I knocked it up to a 6. I felt it was usable in some certain cases, a failure for it’s main task, and had an excellent GUI. ![]() So for instance let’s take AmpSimulator right below. So… I use a scale of 0-100, and I modify my base rating as I’m going. Sometimes it’s something small that may make me want to knock down the rating a bit, or something fairly major that makes me wanna knock it up… but not a full point. ![]() Often I’ll learn something about them that I missed in my initial experience with the plug-in. I already have a good idea of what I think about these plug-ins from hours of use already, but while writing this up I am constantly checking the manual, videos and using them. So why don’t I just leave it at a scale of 0-10? Why good man, thank you for asking! 10: I would pay for this at competitive market price.9: I often would select this over a paid plug-in of decent repute, OR a 7/8 with a really good GUI or some other very unique feature. ![]() 7-8: Good with some unique feature, great GUI or other area of excellence. ![]() Whether it’s a 4, 5 or 6 depends largely on the GUI.
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