Markers are used to locate certain positions quickly. This way, you do not need to move, copy, and paste events in the Project window. Using an arranger track allows you to specify how and when specific sections are played back, even in live performances. The arranger functions in Cubase allow you to work in a non-linear fashion. Quantizing is designed to correct errors, but you can also use it in a creative way.įades allow you to gradually increase or decrease the volume at the start or end of audio events or audio clips, and to create smooth transitions. Quantizing means moving recorded audio or MIDI and positioning it on the nearest grid position that is musically relevant. You can add audio and MIDI files to your project by importing them. In Cubase, you can record audio and MIDI. This is useful if you have no external MIDI instrument at hand and you do not want to draw in notes with the Draw tool. The On-Screen Keyboard allows you to play and record MIDI notes by using your computer keyboard or mouse. You can also work with selection ranges, which are independent from the event/part and track boundaries.Ĭubase offers multiple methods and functions to control playback and transport. Parts and events are the basic building blocks in Cubase.Įditing in the Project window is not restricted to handling whole events and parts. In Cubase, events and parts are placed on tracks. Tracks are the building blocks of your project. Each track is assigned to a particular channel strip in the MixConsole. Tracks are listed from top to bottom in the track list and extend horizontally across the Project window. They allow you to import, add, record, and edit parts and events. You must create and set up a project to work with the program. In Cubase, projects are the central documents. The Project window provides an overview of the project, and allows you to navigate and perform large scale editing. To play back and record in Cubase, you must set up input and output busses in the Audio Connections window. To use Cubase, you must set up your audio, and if required, your MIDI system. Here you will find detailed information about all the features and functions in the program. This is the Operation Manual for Steinberg’s Cubase. The following list informs you about the most important improvements in Cubase and provides links to the corresponding descriptions.
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If you know that Ilium is a synonym for Troy, then you see something in the narrative you otherwise miss. For example, saying that something is ” like the Trojan War” is a reference, while Vonnegut setting the events of Cat’s Cradle in Ilium, New Jersey is an allusion. That they also work on a further, more informed, level adds richness and depth to the narrative for those who recognize them. That’s because allusions have to work in the narrative, as part of the narrative, whether the reader recognizes their source or not. Shandon finds the song they’re singing “easy to appreciate,” even though he doesn’t understand any of the allusions in it. But they actually function in a different way from regular references. Allusions are often defined as “indirect references” because the source material is never cited you either recognize it or you don’t. The second is a kind of game, in which they see how many of the allusions they recognize.Īnd it’s allusions that make the whole thing work. The first is the level of the narrative, the action, the plot. The readers’ minds work on two levels as well. It was easy to appreciate, but I would have had more chuckles out of if I had known, as the others did, about the personages involved. What had impressed me was that this friar was well-informed and had a lot of fun out of that fact alone… I glimpsed the concept that to know a thing for itself could be a source of joy. Half of it was giving itself gleefully to the moment, while the other half was revolving a new idea. Shandon himself, without being aware of it, provides the key to enjoying the book:Īt times the mind works on two levels at once, and it was so with mine on this occasion. Now this might strike you as a bit overwhelming, or even a bit tedious, but it isn’t. His degree is in business administration. What adds to the pleasure is that Shandon himself has no idea of what’s happened to him. From the very first, every person he meets, every place he goes, everything that happens to him, alludes to some piece of literature. It doesn’t take long, in fact he’s still in the water, for the well-read person to begin to find a certain quality of familiarity in the narrative, to figure out that Shandon has made landfall in the Commonwealth of Letters. Clarence Shandon – re-christened Silverlock due to a white streak in his hair - on his journey of self-discovery after being shipwrecked on the shores of the Commonwealth. On the surface, the book tells the story of A. It doesn’t take very long to go from these thoughts to the great masterwork of this type, John Myers Myers’s Silverlock. It’s also a bit intimidating, from the point of view of a writer, to realize just how thoroughly de Camp and Pratt had to know their source materials. Sprague de Camp and Fletcher Pratt’s Compleat Enchanter and it occurred to me that one of the great pleasures of that work is encountering familiar myths, persons, and fictional events in a new guise and from a new perspective. |
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