Operation Manual

Steinberg Documentation Team: Cristina Bachmann, Martina Becker, Heiko Bischoff, Lillie Harris, Christina
Kaboth, Dennis Martinez, Insa Mingers, Matthias Obrecht, Sabine Pfeifer
Translation: Ability InterBusiness Solutions (AIBS), Moon Chen, Jérémie Dal Santo, Rosa Freitag, GiEmme
Solutions, Josep Llodra Grimalt, Vadim Kupriianov, Roland Münchow, Boris Rogowski, Sergey Tamarovsky
This document provides improved access for people who are blind or have low vision. Please note that due to thecomplexity and number of images in this document, it is not possible to include text descriptions of images.
The information in this document is subject to change without notice and does not represent a commitment on
the part of Steinberg Media Technologies GmbH. The software described by this document is subject to a License
Agreement and may not be copied to other media except as specifically allowed in the License Agreement.
No part of this publication may be copied, reproduced, or otherwise transmitted or recorded, for any purpose,
without prior written permission by Steinberg Media Technologies GmbH. Registered licensees of the productdescribed herein may print one copy of this document for their personal use.
All product and company names are ™ or ® trademarks of their respective owners. For more information, please
visit www.steinberg.net/trademarks.
© Steinberg Media Technologies GmbH, 2023.
All rights reserved.
Backbone_1.6.0_en-US_2023-09-28

Table of Contents
4

New Features

5
5
6
6

Introduction
Typographical Conventions
How To Contact Us
About the Documentation

7
7
8

Getting Started
Window Overview
Programs, Layers, and Samples

10
10
11
12
14

Global Functions and Settings
Plug-in Functions Section
Input Section
Output Section
Options Page

17
17
19
20

Decomposing Sounds
Decompose Section
Decomposing Samples
Combining Noise and Tonal Components ofDifferent Samples
Changing the Distribution of the Tonal and theNoise Components of Samples

21
23
23
25
25

DrumGAN Drum Resynthesis
DrumGAN Section
Generating Drum Sounds with DrumGAN
Creating Variations of Drum Sounds

27
27
28
31
57

Editing Layers
Layers Section
Main Tab
Edit Section
Sample Export

59
59
60

74

Managing and Loading Files
Load Panel
File Management with the Programs andLayers Tabs of the Load Panel
File Management with the Browser Tab of the
Load Panel
Saving and Exporting Programs

81
81
85
86
86

Working with Effects
Effects Section
Loading Effects
Bypassing Effects
Removing Effects

87
87
90
92
93
97
97

Effects Reference
EQ/Filter Effects
Dynamics Effects
Distortion Effects
Modulation Effects
Pan Effects
Time Effects

101
101
101

Automation
Automation Editor
Setting Up Automation

69

103
103
104

MIDI Controllers
MIDI Controller Editor
Assigning MIDI Controllers

105

Index

3
Backbone 1.6.0

New Features
The following list informs you about the most important improvements in Backbone andprovides links to the corresponding descriptions.

New Features in Version 1.6.0
Load Panel●

The Programs and Layers tabs on the Load Panel have been redesigned to allow for aneasier and quicker search. You can choose from filter tags that are proposed based on yoursearch settings, you can configure attribute menus to narrow down the search results, andyou can save your search settings as presets to use them when looking for similar content.
See File Management with the Programs and Layers Tabs of the Load Panel.

New Features in Version 1.5.0
DrumGAN●

Backbone 1.5 now comes with DrumGAN, an innovative drum generator developed by Sony
Computer Science Laboratories, Inc. (Sony CSL). Powered by artificial intelligence, it creates
new kick drum, snare drum, and cymbal samples in a very fast, intuitive way. It can also
analyze samples, replicate them and create countless variations. DrumGAN is the perfect
addition to Backbone for crafting new drum sounds entirely from scratch, while staying inyour favorite sample editing environment. See DrumGAN Drum Resynthesis.

New Features in Version 1.1.0
Export Settings●

You can now use the last triggered note and velocity as a reference for the export. See
Export Settings.

Normalize Sample Parameters●

With version 1.1.0 of Backbone, Normalize Sample and Normalize Level were moved
from the Sample page toolbar to the parameter section. In addition, a Gain Offset
parameter was introduced. See Parameters.

Sample Range●

You can now move the Sample Start and Sample End markers together to change thesample range. See Setting up the Sample Range.

Loop Range●

You can now move the Loop Start and Loop End markers together to change the loop
range. See Setting up the Loop Range.

Single Layer Export●

You can now export single layers from Backbone using drag and drop. See Exporting Single
Layers.

4
Backbone 1.6.0

Introduction
This is the Operation Manual for Steinberg’s Backbone. Here you will find detailed information
about all the features and functions in the application.

Typographical Conventions
In our documentation, we use structural and markup elements to present information according
to its purpose.

Structural Elements
Prerequisite
Describes any actions or conditions you must have fulfilled before starting aprocedure.
Procedure
Lists the steps that you must take to achieve a specific result.
Important
Informs you about serious issues; for example, issues that affect the system, theconnected hardware, or that risk data loss.
Note
Informs you about issues or other relevant information.
Tip
Adds further information or useful suggestions.
ExampleProvides you with an example.
ResultDescribes the result of the procedure.
After Completing This Task
Informs you about actions or tasks that you can perform after completing theprocedure.
Related Links
Lists related topics that you can find in this documentation.

MarkupBold text indicates the name of a menu, option, function, dialog, window, and so on.
If bold text is separated by a greater-than symbol, this indicates a sequence of different menus
to open.
File names and folder paths are shown in a different font.

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Introduction
How To Contact Us

EXAMPLE
example_file.txt

Key Commands
Many of the default key commands, also known as keyboard shortcuts, use modifier keys, someof which are specific to each operating system.
Whenever key commands with modifier keys are described in this manual, the Windows modifier
key is indicated first, followed by the macOS modifier key and the key.
EXAMPLE
Ctrl/Cmd - Z means: press Ctrl on Windows or Cmd on macOS, then press Z .

How To Contact Us
Click the Steinberg logo in the top right corner of the control panel to open a pop-up menu which
includes information on how to contact us and to receive help.
●

This menu contains links to various Steinberg web pages. Select a link to open thecorresponding page. On the web pages, you can find support and compatibility information,
answers to frequently asked questions, links for downloading new drivers, etc.

About the Documentation
The documentation is available online and can be downloaded in PDF format from http://
www.steinberg.help.
●

To visit steinberg.help, enter steinberg.help in the address bar of your web browser or open
Backbone, click the Steinberg logo in the top right corner and select Backbone Help.

6
Backbone 1.6.0

Getting Started
Window Overview
The Backbone window is fully resizable. It is divided into several sections.

1

Plug-in functions section

2

Input, DrumGAN, Decompose, and Output sections

3

Layers and Main tabs

4

Edit section

5

Load panel

6

Effects section

RELATED LINKS
Plug-in Functions Section on page 10
Input Section on page 11
Decompose Section on page 17
DrumGAN Drum Resynthesis on page 23
Output Section on page 12
Layers Section on page 27
Main Tab on page 28
Edit Section on page 31
Load Panel on page 59
Effects Section on page 81

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Getting Started
Programs, Layers, and Samples

Programs, Layers, and Samples
In Backbone, you can load and save programs, layers, and samples.
Programs
Programs can contain up to eight layers, complete with their effects, filter settings,
amp settings, etc. You can load one program at a time into Backbone.
LayersLayers are the sound components that make up the program. They contain the loaded
samples and the settings that you make on the edit pages. Layers are loaded into theslots in the Layers section.
NOTE
Layers only reference the loaded samples. That is, when you edit a layer in the Edit
section, you do not change the sample file, but the play parameters for the sample file.
The effects are not part of the layers.
SamplesWith the Browser tab of the Load panel, you can load mono or stereo samples fromthe hard disk into the layer slots in the Layers section.

Loading Programs
You can load programs via the program loader on the toolbar or via the Load panel.
CHOICES●Click in the program loader field to open the Programs tab of the Load panel, navigate to
the program, and double-click it.

●

Click the Show/Hide Load Panel button to open the Load panel, and do one of thefollowing:●

On the Programs tab, select a program, and double-click it or drag it from the list onto
the program loader.

●On the Browser tab, navigate to the program in the file system, and double-click it, ordrag it from the list onto the program loader.

RELATED LINKS
Load Panel on page 59

Loading Layers
You can load layers that you created or that are included with an instrument.
CHOICES●Open the slot menu and select Load Layer. On the Load panel, navigate to the layer thatyou want to load, and double-click it.

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Getting Started
Programs, Layers, and Samples●

Click the Show/Hide Load Panel button to open the Load panel, select the Layers page, anddo one of the following:●

Double-click a layer to load it into the selected slot.

●

Select a layer and drag it onto a slot.

Loading Samples
You can load your samples into Backbone.
CHOICES●Drag a sample from the Browser tab of the Load panel onto a layer slot.
If a layer is already loaded, this layer is replaced. Any layer settings are reset.

●

Drag a sample from the Browser tab of the Load panel onto the edit section.
This replaces the sample in the corresponding slot. Any layer settings you made are kept.

●

Double-click a sample in the results list of the Browser tab of the Load panel.
Whether this replaces the sample or the layer depends on the Replace Mode setting in the
prelisten and file info section of the Browser tab.

●Drag a sample from the File Explorer/macOS Finder or from the MediaBay of your Steinberg
DAW onto a layer slot to replace the layer or onto the edit section to replace only the sample.

RESULT
Loading samples converts them into Backbone layers.
RELATED LINKS
Programs, Layers, and Samples on page 8
Prelisten and File Info Section on page 73

9Backbone 1.6.0

Global Functions and Settings
Plug-in Functions Section
Plug-in nameTo get information regarding the version and build number of the plug-in, click theplug-in name on the left. This opens the About box. To close the About box, click it orpress Esc on your computer keyboard.
Load Previous Program/Load Next Program
Click these buttons to load the previous/next program.
Program loader
To load a program, click the field where the program name is shown. In the Loadpanel, double-click the program that you want to load or drag it onto the program
field.
Program loader context menu●

Clear Plug-in Instance resets the entire plug-in instance to an empty state.

●

Rename allows you to rename the program.

●

Load Default loads the default program.

●

Save as Default saves the current program as the default program.

●

Restore Factory Default restores the factory default program.

Save Program
Allows you to save your program.
Save/Export Programs

This pop-up menu contains the following options:●

Save saves the current program.

●

Save As allows you to save the program under another name, and make attributeand location settings, etc.

●

Export with Samples allows you to save the loaded program together with its
samples.

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Global Functions and Settings
Input Section●

Batch Export with Samples allows you to save multiple programs together with
their samples from your hard disk, without having to load them into Backbone
first.

Show/Hide Effects
Opens the Effects section at the bottom of the window.
Show/Hide Load Panel
Opens the Load panel on the right side of the window.
Show/Hide Options
Opens the Options page that contains global settings and parameters, as well as theAutomation editor and the MIDI Controller editor.
Switch off All Effects
Deactivates all effects. This lets you compare the sound with and without effects, forexample.
NOTE
Switch off All Effects does not affect the global limiter in the Output section. If you
want to hear the sound without the limiter, you must deactivate it manually.
MIDI Reset
Click this button to stop playback and reset all MIDI controllers to their default values.
Undo/Redo
To undo or redo a single operation, click the Undo or Redo buttons. To undo or redo
multiple operations, click the arrow next to the button to open the history, and selectthe step to which you want to return.
NOTE
The number of available undo/redo operations depends on the Undo Steps setting on
the Options page.
Steinberg logo
Click the Steinberg logo to open a pop-up menu with links to Steinberg web pages
containing information on software updates, troubleshooting, etc.
RELATED LINKS
Saving and Exporting Programs on page 74
Save Dialog on page 75
Exporting Programs with Samples on page 76
Batch Exporting Programs on page 78
Output Section on page 12
Options Page on page 14

Input Section
The Input section gives you a quick overview over the MIDI input and the trigger note.

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Global Functions and Settings
Output Section
Triggered Note
Displays the last triggered note.
Velocity
Displays the velocity of the triggered note.
Trigger pad
The trigger pad on the right allows you to trigger the note that is displayed on the pad.
The velocity depends on the vertical click position. Click at the top of the pad for a highvelocity and at the bottom of the pad for a low velocity.
You can also set up a key command for this in the Key Commands dialog (Playcategory). In this case, the velocity is 127.
Edit Trigger Note
To change the trigger note, click Edit Trigger Note
specify a different key.

above the trigger pad andOutput Section
This section contains output settings, such as the output level, a bypass function for the internal
global limiter, and sample export controls and settings.

Output Level Settings

Level meter
The level meter shows the current level. The most recent peak value is displayed in thevalue field on the right. To reset the peak value, click the field.

Main Level
The Main Level dial allows you to set the main output level of the plug-in.
Bypass Limiter
Backbone features an integrated limiter that prevents the output level of the plug-in toexceed 0 dB. Click Bypass Limiter to deactivate the integrated limiter, for example, touse a limiter in your host application.

Export Section
The export controls allow you to export the sound of Backbone as a sample.

ExportAllows you to specify a name and location and to export the current sample.

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Global Functions and Settings
Output Section
Export Settings
Opens a pane where you can make additional export settings, specify a folder for theexported files, and export the current sample.
Drag icon
Drag Sample to Export allows you to export a sample by dragging it onto a track inyour DAW, a folder in your system, or another layer within Backbone. The exported
file gets the name of the program, followed by a number that increments with each
export. The folder in which the file is saved and the way the sample is rendered dependon the settings in the Export Settings pane.
RELATED LINKS
Export Settings on page 13

Export Settings
In this pane, you can make settings for the exported files, such as the save location, the bit
depth, etc.
●

To open the pane, click Export Settings

in the top right section of the window.

Note
Sets the MIDI trigger note. The sound that is produced when you play this MIDI note isexported.
Velocity
Sets the velocity. The sound that is produced when you play the MIDI note with thisvelocity is exported.
Note Length
Sets the note length. This parameter is available if Sustain Mode is activated for the
amp envelope of one of the layers.
Last Note
If this option is activated, the last triggered note and velocity are used as a reference
for the export. This way, you can quickly export a series of samples with varying pitches
and velocities without having to change the export settings manually, for example.
ExportExports all non-muted layers as a sample, according to the settings made on this pane.
Sample Rate
Sets the sample rate of the new sample.
Bit Depth
Sets the bit depth of the new sample.
Mono
If this option is activated, the sound is mixed down from stereo to mono and exported
as a mono sample.

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Global Functions and Settings
Options Page
Tail Mode
The export includes all amplifier envelopes. However, if you are using time-based
effects such as Reverb or Delay, the resulting sound may continue after that.
To make sure that the reverb or delay tail is part of the exported sample, select a Tail
Mode.
●

Use Threshold to specify an audio threshold below which the rendering is
stopped.

●Time allows you to specify the time of the tail.

●Use Silence to render the sample until the last effect in the signal chain hasentered silent mode, that is, when there is no more input and no signal to beprocessed. This mode ensures that even the longest reverb tail is exported in its
entirety, but it can also lead to longer samples.

Sample Folder
Allows you to specify the destination folder for the exported samples.
This also applies to samples that are exported via drag and drop.
Export Samples to Cubase Project Folder
If you use a Steinberg DAW, activate Export Samples to Cubase Project Folder tokeep all project-related samples in one place. You can then specify a subfolder within
the project folder for the exported files.
This also applies to samples that are exported via drag and drop.

Options Page
On the Options page, you can find global options, the Automation editor, and the MIDI
Controller editor.
●

To open the Options page, click Show/Hide Options in the plug-in functions section.

GlobalShow Tooltips
If this option is activated, a tooltip is shown when you move the mouse over a control.

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Global Functions and Settings
Options Page
High DPI Mode
If High DPI Mode is activated, the plug-in uses high-resolution bitmaps when it isdisplayed with a scaling of 150 % and higher on a high-resolution monitor, such as 4K(UHD), 5K, etc. This allows for sharper images on high-resolution displays.
NOTE
Windows systems currently only support scaling factors that are multiples of 100. For
example, if you use a scaling factor of 150 %, in Backbone, the scaling factor used is
200 %.
High DPI Mode may not be compatible with some combinations of software andhardware. If you experience display issues with your setup, you can deactivate HighDPI Mode.
If High DPI Mode is deactivated, the native monitor resolution is used.
Undo Steps
Specifies the number of available undo steps.
Solo Mode●

In Standard mode, you can solo multiple layers to hear them combined.

●

In Exclusive mode, only one layer can be soloed at a time.

Reset Messages
If you click this button, all message dialogs that have been suppressed with the Don't
Show Again option are displayed again.
Key Commands
Opens the Key Commands dialog, where you can view and assign key commands.
Show Layer Pairs●

If Show Layer Pairs is deactivated, the selected layer and the following layer are
displayed.

●

If Show Layer Pairs is activated, the layers 1 and 2, 3 and 4, 5 and 6, and 7 and 8
are always shown together.

Activating Show Layer Pairs can be useful when working with decomposed samples.
Undock Load Panel
If this option is activated, the Load panel always opens as an independent window.
Limit Window Size
If this option is activated, the height of the plug-in window is restricted, so that it
cannot extend beyond the desktop. If necessary, scroll bars are added, allowing you tonavigate to areas of the plug-in panel that are currently not shown. This prevents you
from being unable to access functions because they are outside of the editable window
space.
TIP
Activate this option if you run into display issues, which can occur with some display
resolutions on small screens.

Automation
In the Automation editor, you can manage your automation assignments.

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Global Functions and Settings
Options Page

MIDI Controller
In the MIDI Controller editor, you can manage your MIDI controller assignments.
RELATED LINKS
Automation Editor on page 101
Setting Up Automation on page 101
MIDI Controller Editor on page 103
Assigning MIDI Controllers on page 104

Key Commands
Key commands are assigned to many functions in Backbone.
You can view, edit, and add key commands in the Key Commands dialog.
●

To open the Key Commands dialog, open the Options page and click the Key Commands
button in the Global section.

The commands are arranged in a hierarchical folder structure on the left. When you open
a category folder, the items and functions are displayed with their currently assigned key
commands.
●

To set up a key command, select the function in the list, enter the key command in the Typein Key field, and click the Assign Key
button to the right of the field. If this key commandis already used for another function, this is displayed in the field below.

●

To delete a key command, select the function in the list, select the key command in the Keys
list, and click the Delete button.

●

To search for a specific function, enter its name in the search field at the top of the dialog,
button.
and click the Start/Continue Search

NOTE
You can set up several key commands for the same function.

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Decomposing Sounds
The Decompose function allows you to split your samples into their noise and tonal components.
This allows you to edit the tonal and the noise components of your samples separately, forexample, to change the distribution between the noise and tonal portions of a sample, tocombine different noise samples with a tonal sample, or to experiment with noise and tonal
samples from different instruments to create entirely new sounds.
NOTE
If Resynth is activated for a sample, the Decompose function cannot be used.

Decompose Section
The Decompose section at the top of the window contains the controls and settings for theDecompose function.

Decompose Settings
Opens the Decompose Settings pane where you can specify the save location for the
samples created with the Decompose function.

Sensitivity, Cutoff, and Duration
The quality of the Decompose function depends greatly on the Sensitivity, Cutoff, andDuration settings. Try out different settings before decomposing the sample.
NOTE
For the Sensitivity, Cutoff, and Duration parameters to have an effect, Prelisten must be active.
Sensitivity
Allows you to specify the level difference that is required between the signal partials
and the noise floor. The value you specify defines the minimum distance between
the peaks and the troughs of the spectrum for a partial to be detected. If you lower
this value, more signal portions of the sample are considered to belong to the tonalcomponent.
CutoffAllows you to define the upper limit of the range in which Backbone searches forpartials. Any signals above the Cutoff frequency are considered as noise, regardless of
the Sensitivity or Duration settings.
Duration
Allows you to specify the minimum length for a partial. Signals that are shorter
than the value specified are automatically considered as noise; longer signals are
considered as belonging to the tonal component.

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Decomposing Sounds
Decompose Section
You can try to lower this setting if you work with samples that have fast attacks orstrong transients which were not detected correctly by the Decompose function.

Tonal Level, Mix, and Noise Level
Tonal Level
Allows you to adjust the level of the tonal component.
Activate Solo Tonal to listen to the tonal component only.
NOTE
Make sure that Solo Tonal is deactivated when you click Apply. Otherwise, the layer isoverwritten with the tonal component of the sample.
Mix
If this is activated, you can modify the mix with the Tonal Level and Noise Level dials
and save the adjusted mix as a new file.
Noise Level
Allows you to adjust the level of the noise component.
Activate Solo Noise to listen to the noise component only.
NOTE
Make sure that Solo Noise is deactivated when you click Apply. Otherwise, the layer isoverwritten with the noise component of the sample.

Prelisten and Apply
Prelisten
Calculates the tonal and noise components of your sample according to the current
settings. This allows you to prelisten your Decompose settings.
●

If Solo Tonal or Solo Noise is activated, you hear the tonal or the noise
components of the layer.

●

If Mix is activated, you hear the mix that you adjust with the Tonal Level andNoise Level controls.

Apply
Applies the Decompose function.
NOTE●

If Mix is activated, this replaces the sample.

●

If Solo is activated for the tonal or the noise components, only this component
replaces the sample in the layer.

●

If Mix and Solo are both deactivated, two new layers are created, one for the tonal
and one for the noise component of the sample.

RELATED LINKS
Decompose Settings on page 19
Decomposing Samples on page 19
Resynth Page on page 41

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Decomposing Sounds
Decomposing Samples

Decompose Settings
By default, the samples created by the Decompose function are saved in the same folder as theoriginal file. However, if this is not what you want, you can specify an alternative destination
folder on the Decompose Settings pane.

●

To open the pane, click Decompose Settings in the Decompose section.

As Source
Activate As Source to save the created samples in the same folder as the original
sample.
NOTE
As Source is only available if you work with source samples that are not part of a VST
Sound container.
Project
Activate Project to save the samples in the project folder of your Steinberg DAW.
Custom Sample Folder
If Project is not activated, you can enter the path to the folder in which the new
samples are to be saved. You can enter the path manually in the text field or click
Select Folder and browse to the destination folder.
Create Tonal and Noise Subfolders
Allows you to save the tonal and the noise components in different subfolders.

Decomposing Samples
The Decompose function separates the noise and the tonal components of a sample and allows
you to save these components separately as new samples.
PREREQUISITE●

You have loaded the sample that you want to decompose into a slot.

●

A slot is empty. This is necessary, because two slots are required for the tonal and noise
layers.

●Resynth is deactivated for the layer.

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Decomposing Sounds
Combining Noise and Tonal Components of Different Samples

PROCEDURE
1.

Select the layer that you want to decompose.

2.

Solo the layer.

3.

Activate Prelisten.
Backbone calculates the tonal and the noise components of the layer.

4.

Activate Solo Tonal or Solo Noise and play back the corresponding component.

5.

Try out different Sensitivity, Cutoff, and Duration settings.
The Prelisten function recalculates the tonal and noise components automatically when
you modify the parameters. During this process, an indicator is shown above the Prelisten
button.

6.

Optional: Use the Tonal Level and Noise Level controls to adjust the level of thecorresponding component.
NOTE
Once you have identified the settings that you want to use, be sure to deactivate Solo Tonal/
Solo Noise. Otherwise, only the corresponding component is saved when you click Apply.

7.

Optional: Open the Decompose Settings pane and specify the save locations for the createdfiles.

8.

Click Apply to decompose the sample.

RESULT
Two new samples are created, one for the tonal and one for the noise component of the sound.
They are saved with the extensions “_noise” and “_tonal”, respectively. The tonal sample replaces
the original sample in the slot. The noise sample is loaded into the next layer.
NOTE
If a sample with the same name already exists at the save location, for example, because you
tried out different Decompose settings, a number is added to the new file name. No sample files
are overwritten by the Decompose function.
AFTER COMPLETING THIS TASKYou can now edit the tonal and noise samples separately, combine them differently, etc.
RELATED LINKS
Changing the Distribution of the Tonal and the Noise Components of Samples on page 21
Decompose Section on page 17

Combining Noise and Tonal Components of Different
SamplesOnce the tonal and noise components are split, you can use them separately. This allows you
to try out different noise components with a tonal sample, edit the components of a sample

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Decomposing Sounds
Changing the Distribution of the Tonal and the Noise Components of Samples
separately before combining them again, etc. You can also create entirely new sounds from yoursamples in this way.
PREREQUISITE
You have used the Decompose function on several samples, so that you have a variety ofdifferent noise and tonal samples to choose from.
PROCEDURE
1.

On the Load panel, open the Browser tab.

2.

Navigate to the folder that contains the decomposed samples and filter the view to show
only the decomposed samples using the Filter by Sound Component pop-up menu.
You can filter the list to show the tonal component samples, the noise component samples,or all the component samples, that is, noise and tonal, that were created with theDecompose function.

3.

Drag the samples onto the noise or tonal waveform displays on the Sample page.
By allocating two components from different original samples to separate layers, you canplay them together.

4.

Play back the layers.

5.

Experiment with different combinations.

AFTER COMPLETING THIS TASK
Once you have identified the combination that you want to use, you can edit the samples further
on the Sample page, for example.
RELATED LINKS
Sample Page on page 33

Changing the Distribution of the Tonal and the Noise
Components of Samples
The Decompose function allows you to mix the noise and the tonal components of samples
individually. This can be used to change the level of the snares of a snare drum, for example.
PREREQUISITE
You have selected the layer that you want to decompose.
PROCEDURE
1.

Click Prelisten.

2.

Modify the mix by adjusting the Tonal Level and Noise Level parameters.

3.

When you are satisfied with the mix, activate Mix and click Apply.

RESULT
The modified mix of the two components replaces the original sample in the layer slot. The
corresponding file is saved with the extension “_mix”.

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Decomposing Sounds
Changing the Distribution of the Tonal and the Noise Components of Samples
NOTE
If a sample with the same name already exists at the save location, a number is added to the file
name. No sample files are overwritten by the Decompose function.

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DrumGAN Drum Resynthesis
DrumGAN allows you to create your own drum sounds, modify existing sounds, or create
variations of drum sounds.
DrumGAN uses a GAN, a generative adversarial network, to synthesize drum samples. It wastrained with a large collection of kick, snare, and cymbal sounds and offers intuitive control overthe sound generation process.
You can use DrumGAN in the following ways:●

To generate drum samples from scratch.

●

To analyze real samples and generate variations from them.

●

To analyze the tonal or noise components of samples.

●

To generate similar drum sounds that can be panned left/right to produce a stereo sound.

DrumGAN Section
The DrumGAN section at the top of the window contains the controls and settings for the
DrumGAN function.

DrumGAN Settings
Opens the DrumGAN Settings pane, where you can specify the save location for thecreated samples.

Play Sample After Changes

If this button is activated, every newly generated sample is automatically played back.
This way, you can hear the result of your modifications.
New
Generates a random drum sound according to your settings for Kick, Snare, andCymbal.
Analyze
Generates a replica of the sample of the selected layer. The Kick, Snare, and Cymbal
sliders are set accordingly, and the Variation Depth is reset.
This function is useful if you want to use the Variation Depth slider to create a soundthat differs slightly from an original sample.

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DrumGAN Drum Resynthesis
DrumGAN Section
Kick/Snare/Cymbal
Sets the amount of the respective instrument in the generated sample. For example, tostart with a standard kick, snare, or cymbal sound, set the corresponding slider to the
middle position and the two other sliders all the way to the left.
●

In the middle position, the standard instrument sound is generated.

●

Below the middle position, the results become more random.

●

Above the middle position, the results become more uniform.

●

If you set the control all the way to the right, you always get similar results.

Randomize Amounts

Click this button to generate randomized amounts of the Kick, Snare, and Cymbal
sliders.
Variation Depth
Allows you to produce further diversity without changing the settings of the Kick,
Snare, and Cymbal instruments. You can return to the original sound by setting the
Variation Depth slider fully to the left.
Generate New Variation

If you did not get the desired result when using the Variation Depth slider, you cangenerate a new range of variations for it by clicking this button.
NOTE
This button has no effect if the Variation Depth slider is set all the way to the left.

RELATED LINKS
DrumGAN Settings on page 24

DrumGAN Settings
The settings pane allows you to specify the save location for the created samples.

Project
Activate Project to save the samples in the project folder of your Steinberg DAW.
Custom Sample Folder
If Project is not activated, you can enter the path to the folder in which the new
samples are to be saved. You can enter the path manually in the text field or click
Select Folder and browse to the destination folder.

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DrumGAN Drum Resynthesis
Generating Drum Sounds with DrumGAN

Generating Drum Sounds with DrumGAN
In the DrumGAN section, you can generate your own drum sounds.
PROCEDURE
1.

Select a layer slot.

2.

In the DrumGAN section, activate Play Sample After Changes.

This way, you can hear what you are doing.
3.

4.

Set up the Kick, Snare, and Cymbal controls, depending on how prominent you want therespective instrument to be in the drum sound.
●To start with a standard Kick, Snare, or Cymbal sound, set the corresponding slider tothe middle position, and set the other two controls all the way to the left.

●

To combine your own set out of Kick, Snare, and Cymbal, move the faders individually
until you find the sound that you want to use.

●

To generate random Kick/Snare/Cymbal distributions, click Randomize Amounts.

When you have found a sound that you like, you can either use it as it is, or you can click
New to obtain a slightly different sound based on the same initial settings.
Each time you click New, and each time you adjust any of the DrumGAN settings, the sample
for the layer is replaced by a new sample, and the waveform display is updated to show the
new waveform.

5.

Optional: To return to a previously generated sound that you liked, use the Undo function.
NOTE
You can only go back until the maximum number of undo steps set on the Options page isreached.

AFTER COMPLETING THIS TASK
After creating your drum sound, you can perform further editing in Backbone. For example, tocreate stereo samples, you can layer two slightly different mono samples and pan them left andright. To create longer samples, you can use the functions on the Resynth page.
RELATED LINKS
Resynth Page on page 41
Exporting Single Layers on page 58

Creating Variations of Drum Sounds
You can create variations of drum samples. This allows you to create a stereo sound, forexample, by creating two variations and panning them left and right.
PROCEDURE
1.

Load the sample that you want to use to create variations.

2.

Click Analyze to analyze the current sample.
Backbone analyzes the sample and automatically sets the Kick, Snare, and Cymbal sliders tomatch the sample.

3.

Use the Variation Depth slider to specify how much you want the new sample to deviate
from the original sample.

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DrumGAN Drum Resynthesis
Creating Variations of Drum Sounds
4.

If you do not get the desired result, click Create New Variation.
This generates a new range of variations for the Variation Depth slider.

5.

Use the Variation Depth slider again until you find a sound that you like.
To create a stereo sound, load the original sample in another layer and pan one layer all theway to the right and one layer all the way to the left.

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Editing Layers
The sounds in Backbone are made up of up to eight layers. Each layer contributes a specificdetail of the sound, for example, the tonal and noise components of a drum sound. You canadjust and modify the sound of each layer extensively in the edit section.
The different pages in the edit section offer different editing possibilities.
●

The Sample page contains the Sample editor, allowing you to edit the sample length, adjust
the loop settings, etc.

●

The Resynth page contains the integrated resynthesizer, allowing you to transform yoursamples on a spectral level.

●

The Pitch page contains the pitch envelope and settings.

●

The Filter page contains the filter envelope and settings.

●

The Amp page contains the amplifier envelope and settings.

RELATED LINKS
Programs, Layers, and Samples on page 8
Loading Layers on page 8
Sample Page on page 33
Resynth Page on page 41
Pitch Page on page 48
Filter Page on page 49
Amp Page on page 51

Layers Section
The Layers section on the left contains eight slots into which you can load samples or layer
presets.

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Editing Layers
Main Tab
Reset Mute
Unmutes all muted layers.
Reset Solo
Unsolos all soloed layers.
Mute Layer
Mutes the layer.
Solo Layer
Solos the layer.
Layer Name
Shows the name of the layer.
To change the name, double-click it and enter a new name.
An icon to the left of the name indicates whether Resynth is activated for the layer andwhich Resynth Mode is active.
●

Resynth not activated:●

Resynth activated, Tonal mode:●

Resynth activated, Noise mode:

Open Menu
Hover with the mouse over the name field until the Open Menu
button appears.
Click Open Menu to open a pop-up menu that allows you to load, save, or delete alayer.
RELATED LINKS
Resynth Page on page 41

Changing the Order of the Layers
You can reorder the layers in the Layer section using drag and drop.
●

Click the layer slot and drag it to another position in the list.
To replace another layer, drag the layer onto another slot.
To insert the layer between two slots, drag it between the slots.
To copy a layer, hold down Alt/Opt and drag it onto another slot.

RELATED LINKS
Decomposing Samples on page 19

Main Tab
The Main tab contains additional settings for the program and the layers.
The settings of the Range and Modifier sections are saved with the project in your hostapplication. The Voice, Glide, and Pitchbend settings are saved in the Backbone program.

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Main Tab

Range
In this section, you can make trigger settings for the program.
Low Key
Sets the lowest key on which the program is triggered.
High Key
Sets the highest key on which the program is triggered.
NOTE
The settings in this section are saved in the project in the host application, not in the program.

ModifierThis section allows you to modify the incoming MIDI notes.
Note
Here you specify which note on your external keyboard triggers C3. This is useful
because C3 is the default MIDI note on which the factory presets are based.
For example, a kick drum preset has its original sound defined at C3. If you want to use
the standard GM MIDI note C1 to trigger this sound, set Note to C1. With the default
Note setting, the kick drum sounds two octaves lower.
Fixed Note
Activate this option if you want all incoming MIDI notes to automatically play C3.
Fixed Velocity
If this option is activated, you can trigger the layer with a defined velocity value insteadof the incoming velocity.
Velocity
If Fixed Velocity is activated, you can specify the velocity that triggers the program inthis value field.

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Editing Layers
Main TabNOTE
The settings in this section are saved in the project in the host application, not in the program.

Voice
Mono
Activates monophonic playback.
Retrigger
If Retrigger is activated, a note that was stolen by another note is retriggered if you
still hold the stolen note when you release the new one. This way, you can play trills byholding one note and quickly and repeatedly pressing and releasing another note, forexample.
NOTE
Retrigger is only available if Mono is activated.
Polyphony
If Mono is deactivated, this parameter determines how many notes can be triggered
simultaneously.
NOTE
If the maximum Polyphony setting is exceeded, the notes that were played first arestolen in chronological order.
Trigger Mode
Defines the trigger behavior for new notes.
●

Normal triggers a new note when the previous note gets stolen. The sample andthe envelope of the new note are triggered from the start.
To minimize discontinuities, use the Fade Out Time parameter.

●

If Resume is selected, the envelope is retriggered for new notes, but resumes atthe level of the stolen note. The pitch is set to the new note.

●

If Legato is selected, the envelope keeps running for new notes. The pitch is set to
the new note.

Fade Out Time
When a voice is stolen because the Polyphony limit is reached, it is faded out. Here,you can specify the fade out time.

Glide
Glide allows you to bend the pitch between notes that follow each other. For these parameters
to have an effect, Glide must be activated for the layer on the Pitch page.
Sync
If Sync is activated, you can specify the glide time in note values. This allows you tosynchronize the glide time to the host tempo. To use triplet note values, activate the
Triplets button.
If Sync is deactivated, you can specify the glide time in milliseconds.

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Edit Section
Fingered
Activate this parameter to glide the pitch only between notes that are played legato.
Curve
Allows you to select one of three curve types to define the glide behavior.
●With the Linear curve, the pitch glides from the start to the end pitch at acontinuous speed.

●With the Exponential curve, the pitch starts gliding at a higher speed anddecelerates towards the end pitch. This behavior is similar to the natural pitch
glide produced by a singer.

●

With the Quantized curve, the pitch glides from the start to the end pitch insemitones.

Glide Time
Sets the glide time, that is, the time it takes to bend the pitch from one note to thenext.

Pitchbend
Pitchbend Up/Pitchbend Down
Determines the range of the modulation that is applied when you move the pitchbend
wheel.
For the pitchbend range to have an effect, both the Glide and the Pitchbend parameters on the
Pitch page must be activated for a layer.
RELATED LINKS
Pitch Page on page 48

Edit Section
In the Edit section, you can edit the layers.
The Edit section contains the Sample, Resynth, Pitch, Filter, and Amp pages.

By default, the Edit section shows an overview of all pages for the selected layer and the layer inthe slot below. The selected layer is shown in pink, the layer that is not selected is shown in gray.
RELATED LINKS
Edit View vs. Overview on page 32
Sample Page on page 33

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Edit Section
Resynth Page on page 41
Pitch Page on page 48
Filter Page on page 49
Amp Page on page 51

Edit View vs. Overview
By default, an overview of all pages is shown in the Edit section. You can set a page to edit viewso that it fills the entire Edit section.

Edit View
Edit view shows more parameters and allows you to edit the layers in more detail.
●To open edit view for a page, click the corresponding page header.
The buttons on the left of the section header allow you to navigate between the maximized
Sample, Resynth, Pitch, Filter, and Amp pages.

●

To return to the overview, click the header of a maximized page.

Overview
The overview pages give quick access to the most important parameters of two layers. Clicking alayer in the layer rack sets the focus to this layer.
Which two layers are shown in the overview depends on the Show Layer Pairs parameter on the
Options page.
●

If Show Layer Pairs is deactivated and you select a layer, this layer is shown in the top row.
The row below shows the next layer. This means that you always see a combination of Layer
1 and 2, or Layer 2 and 3, and so on.

●

If Show Layer Pairs is activated, the overview always shows two layers in odd and evenpairs, 1 and 2, 3 and 4, and so on. This can be useful when working with decomposed
samples.

In the Sample section, two additional functions are available:●

Time Range allows you to specify how many seconds of the sample are displayed in theoverview for all layers.

●

Clicking in the sample display plays the corresponding layer.
The vertical click position determines the trigger velocity. This allows you to quickly evaluate
the sonic contribution of a layer without having to solo it.
You can also set up a key command for this in the Key Commands dialog (Play category). In
this case, the velocity is 127.

RELATED LINKS
Options Page on page 14

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Edit Section

Sample Page
The Sample page shows the sample waveform and allows you to play back and edit the sample.

On the left, you can find the play parameters. In the waveform display on the right, you can makea selection, specify the start and end of the sample, the start and end of the loop, and set up
the fades. The toolbar above the display contains tools and settings for viewing and editing thesample.

Parameters
With the parameters in the section to the left of the waveform display, you can make settings forplayback, the triggering behavior, etc.

Loop Mode●

If Loop is set to Off, playback stops at the end of the sample.

●

If Loop is set to On, the loop range is played back continuously. When the loop end
is reached, the playback jumps back to the start of the loop.

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Edit Section●

If Loop is set to Alternate, the playback travels alternatingly forwards andbackwards through the sample. This means that the playback direction changes
every time the loop start or end marker is reached.

NOTE
This setting is linked to the Loop Mode setting on the Resynth page. Any changes you
make here are also reflected on the Resynth page.
ReverseActivate this to play the sample backwards.
This also reverses the waveform in the waveform display.
This setting is also available on the Resynth page. When you change it on one page,
the change is automatically reflected on the other.
Note-On Delay
Allows you to delay the playback of each layer by a specified time or note value.
If Sync is deactivated, the delay is specified in milliseconds. If Sync is activated, thedelay is specified in fractions of beats.
To synchronize the delay time to the host tempo, activate the Sync button and selecta note value from the pop-up menu. To change the selected note value to a triplet,
activate Triplets On/Off.
Trigger on Note-Off
Allows you to trigger a layer with a note-off signal, that is, when a key is released.
High-Pass
Adjusts the cutoff frequency of the integrated high-pass filter. This filter works with aslope of 12 dB/octave.
Frequencies below the cutoff are attenuated.
Low-Pass
Adjusts the cutoff frequency of the integrated low-pass filter. This filter works with aslope of 12 dB/octave.
Frequencies above the cutoff are attenuated.

Normalize Parameters

Normalize Level
Sets the level for the Normalize Sample function.
Gain Offset
Shows the amount of gain that was added to reach the set normalization level.
Normalize Sample
Normalizes the sample by detecting the highest peak level in the sample and adjusting
the gain to reach a predefined level.

Pitch Analysis
You can analyze the pitch of the loaded sample and use the detected pitch as root key.

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Edit Section
Pitch Analysis On/Off
Analyzes the pitch of the sample, which can then be used to determine its root key.
When the analysis is complete, the pitch curve is shown in the waveform display andthe average pitch is displayed in the Analyzed Pitch section.
If no pitch can be detected for a sample, for example, because the sample contains
mostly noise, N/A is displayed in the value field.
Analyzed Pitch
Note shows the analyzed MIDI note, and Tune shows the tune offset in cents.
Refresh Pitch Analysis
Reanalyzes the pitch of the sample.
This can be useful if the loaded sample does not have a steady pitch. In this case, theaverage pitch might not be the perfect choice to determine the root key. Instead, you
can select a range within the sample where the pitch is stable and click Refresh Pitch
Analysis to retrieve the average pitch of that selection.
Transfer Analyzed Pitch to Root Key
Sets the analyzed pitch value as the root key for the layer.
Root KeyShows the root key of the layer.
If no pitch detection is performed, the Root Key is set to C3.
If no pitch can be detected for a sample, for example, because the sample contains
mostly noise, you can enter the Note and Tune values manually.
Move Root Key to C3 Range
Allows you to move the root key for a sample closer to C3.
This can be useful to combine multiple samples with varying pitches more easily, and it
guarantees that you can play them around middle C on the keyboard.

Toolbar
The toolbar contains tools with which you can play back and edit the sample and specify how it isdisplayed.

Play Sample
Plays back the raw sample.
Play Selection Looped
Activate this button to play back the selection in a loop.
Auto-Scroll
If this button is activated, the waveform display is scrolled during playback, keeping
the playback cursor visible.
Follow Sample Playback
Activate this button to see a playback cursor when triggering a sample via MIDI.
Range Selection Tool
Click and drag with this tool to create a selection.
Zoom Tool
If this tool is selected, you can click in the waveform to zoom in on the position where
you click.

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Play Tool
If this tool is selected, you can click in the waveform to start playback. The sample isplayed back from this position until you release the mouse button.
Scrub Tool
If this tool is selected, you can click in the waveform and drag sideways to play back theaudio. The playback direction and speed depend on how fast and how far you movethe mouse to the left or to the right from the position where you clicked.
Snap
If this button is activated, the selection start and end points and the markers snap toother markers.
Snap to Zero Crossing
If this button is activated, markers and selection start and end points are only placed atzero crossings, that is, at positions in the audio where the amplitude is zero. This helps
you to avoid pops and clicks that are caused by sudden amplitude changes.
Edit Loop
If this button is activated, the editor shows the looped region as overlay with theoriginal sample in the background. This provides a better overview over the transition
between loop end and loop start and allows you to set the loop markers to the best
positions.
Show Resulting Loop Crossfade
Activate this button to see the effect of your crossfade settings in the waveform
display. If this button is activated, the resulting waveform is displayed in red.
NOTE
This button only has an effect if Edit Loop is activated.
Trim Sample
Trims the sample, either to the selection or to the range that is set with the sample
start/end markers.
Revert to Full Sample
Undoes the trimming, so that the entire sample is restored.
NOTE
After undoing the trimming, make sure to set the start/end markers to their original
positions. Otherwise, these parts are not played back.
Sample Path
Shows the name of the loaded sample and its location on your system.
Show Fades in Wave
Activate this button to show the effect of your fade settings directly in the waveform.
Show Channel Sum/Show Left Channel/Show Right Channel
These buttons allow you to show the left channel, the right channel, or the sum of theleft and right channels in the waveform display.
If no button is activated, the left channel of a stereo channel is shown at the top andthe right channel at the bottom.
For single-channel samples, the available channel is shown.

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Preview Volume
Click this icon to display a level slider. Keep the mouse button pressed and use theslider to specify the level for previewing your samples.
NOTE
Preview Volume affects the Play Sample function and the Play tool.

Waveform Display
In the waveform display, you can see and edit the sample waveform.

To the left of the waveform display, a level scale is shown, indicating the amplitude of the audio.
●

To select whether the level is shown as a percentage or in dB, click the level scale label at the
top (dB or %), and select an option from the pop-up menu.

Ruler
The ruler shows the timeline in the specified display format.
●

To select the format, click the arrow button to the right of the ruler and select an option fromthe pop-up menu.
You can choose to display bars and beats, seconds, or samples.

Markers
The waveform display shows markers for sample start and end, loop start and end, and fade-in
and fade-out. You can move these markers by dragging them in the graphical display.
Sample Start
Defines where the sample starts to play. Audio before this marker is skipped.
Sample End
Defines where the sample stops playing. Audio after this marker is ignored.
Fade In
Defines the length of the fade in.
By default, the fade curve is linear, but you can change the curvature by dragging the
curve up and down.

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Fade Out
Defines the length of the fade out.
By default, the fade curve is linear, but you can change the curvature by dragging the
curve up and down.
Loop Start
Defines the start of the loop.
Loop End
Defines the end of the loop.
NOTE
The Loop Start and Loop End markers are only shown in the waveform display if Edit Loop is
activated on the toolbar.

Context menu
Right-click the waveform to open the context menu with additional options.

Range Selection Tool
Click and drag with this tool to create a selection.
Zoom Tool
If this tool is selected, you can click in the waveform to zoom in on the position where
you click.
Play Tool
If this tool is selected, you can click in the waveform to start playback. The sample isplayed back from this position until you release the mouse button.
Scrub Tool
If this tool is selected, you can click in the waveform and drag sideways to play back theaudio. The playback direction and speed depend on how fast and how far you movethe mouse to the left or to the right from the position where you clicked.
Zoom submenu●

Zoom In zooms in one step.

●

Zoom Out zooms out one step.

●

Zoom Full displays the entire sample in the waveform display.

●

Toggle Zoom Full/Last switches between the last zoom setting and the display ofthe entire sample.

●

Zoom to Selection zooms in on the current selection.

●

Zoom to Sample Start zooms in on the start marker of the sample.

●

Zoom to Sample Start Range zooms in on the start range.

●

Zoom to Start zooms in on the start of the sample file.

●

Zoom to End zooms in on the end of the sample file.

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Edit Section●

Zoom to Range zooms in on the selection range.

Show in Explorer (Win)/Reveal in Finder (Mac)
Navigates to the file in the File Explorer/macOS Finder.
View Range submenu
When switching from one sample to another, you can specify which range to show inthe waveform display for the new sample.
●

Auto uses the view range of the previous sample.

●

Last restores the view range that is saved with the sample.

●

Full shows the entire sample.

●

Sample shows the range between sample start and sample end markers.

●

Sample Start shows the sample start marker with the current zoom factor.

●

Sample Start Range shows the sample start range marker with the current zoom
factor.

●Sample End shows the sample end marker with the current zoom factor.

●

Loop shows the entire loop.

●

Loop Start shows the loop start marker with the current zoom factor.

●

Loop End shows the loop end marker with the current zoom factor.

Zooming in the Sample Page Waveform Display
You can use the tools or the context menu to zoom in the waveform display.
CHOICES●To zoom in/out on the time and level axis, use the horizontal and vertical zoom sliders.

●

Use the three buttons to the right of the horizontal zoom slider to zoom to the start, the end,
and to the full range.
Depending on the situation, these options refer to the sample, the selection, or the loop.
Click several times to increase the zoom level.

●

To toggle between full zoom and the previous zoom setting, click the A button to the right of
the horizontal zoom slider.

●To zoom in/out on the locator position, press G and H .

●Click and drag in the ruler to zoom in/out on the position where you have clicked.

●

Use the options on the Zoom submenu of the context menu.

Setting up the Sample Range
You define the sample range with the Sample Start and Sample End markers in the waveform
display.
CHOICES●To set the sample start, drag the Sample Start marker.

●

To set the sample end, drag the Sample End marker.

●

To move sample start and end at the same time, position the mouse pointer between the
Sample Start and Sample End markers at the height of the marker flags, and drag to theleft or right.

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Setting up the Loop Range
You define the loop range with the Loop Start and Loop End markers in the waveform display.
CHOICES●To set the loop start, drag the Loop Start marker.

●

To set the loop end, drag the Loop End marker.

●

To move loop start and end together, position the mouse pointer between the Loop Start
and Loop End markers at the height of the marker flags, and drag to the left or right.

Creating Fades
You can create fades with the fade handles in the waveform display. The fades directly influencesample playback. They are not part of the amp envelope.
PROCEDURE
1.

Drag the Set Fade In Length and Set Fade Out Length handles in the waveform display.

2.

To adjust the curvature, drag the fade line in the display up or down. To reset the fade curveback to linear, hold down Ctrl/Cmd and click on the fade line.

Modulating the Playback Start Using Velocity
You can use the markers on the Sample page to modulate the sample playback start using
velocity. For example, this allows you to make samples more percussive for higher velocities, byplaying the attack transient only with higher velocities.
PROCEDURE
1.

Drag the Sample Start Range marker to the position from which you want the sample to beplayed at the lowest velocity.
By default, the Sample Start Range marker is at the position of the sample start marker.

2.

Drag the Sample Start Velocity Range marker to the position from which you want the
sample to be played at the maximum velocity.

Tuning Drum Samples
You can use the Pitch Analysis function to tune your drum sound, so that the pitch matches the
key of your current project. For example, if you want to use your bass drum samples for the bassline, you want those samples mapped to the corresponding keys, rather than to the default root
key setting C3. If you do not know the pitch of the bass drum sample, you can detect it using the
Pitch Analysis function and then assign the analyzed pitch as root key. That way, the bass drum
sample is mapped correctly and the pitch matches that of the other instruments.
PROCEDURE
1.

Select the layer that contains the drum sample that you want to tune.

2.

On the Sample page, in the parameter section on the left, activate Pitch Analysis.
The pitch of the drum sample is analyzed and shown in the Analyzed value fields. In the
waveform display, a line indicates the pitch.

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3.

If the loaded sample does not have a steady pitch, select a range within the sample where
the pitch is stable and click Refresh Pitch Analysis to retrieve the average pitch of that
selection. Try out different ranges until it sounds right.

4.

Click Transfer Analyzed Pitch to Root Key to use the analyzed pitch as the root key for thelayer.

5.

With the Move Root Key to C3 Range button, you can now move the root key into the C3
octave range.

Resynth Page
Activating Resynth allows you to transform your samples on a spectral level, in a way that is notpossible using classic subtractive synthesis.
With Resynth, the sample is split into its individual frequency components and overtones. These
can then be filtered, amplified, or adjusted in relation to each other. In Resynth mode, thespectrum becomes independent from the original temporal progression of the sample. The
sound is not played faster or slower for higher or lower notes, but instead keeps its timing. You
can change the playback speed without affecting the pitch. When playing other pitches than theoriginal sample pitch, it is possible to preserve the natural formants of the sound or tweak them
independently to create more artificial variations.
In Tonal mode, the sample playback uses the original spectrum of the sample, which can then beedited with parameters like Purity, Inharmonicity, etc.
Noise mode allows you to use the original spectrum to shape a white noise signal. This allows
you to resynthesize non-tonal components, for example, overtone-rich inharmonic signals, suchas cymbals. But you can also use tonal samples in Noise mode and experiment to create rather
inharmonic and chaotic signals.
Finally, applying the spectral filter with its free-form curve allows you to shape the spectrum,
both in Tonal and Noise mode, even further.

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Parameters

Resynth Mode
You can choose between two different resynthesis modes: Tonal

and Noise.

●

In Tonal mode, the sample playback uses the original spectrum of the sample,
which can then be edited with parameters like Purity, Inharmonicity, etc. Use thismode for harmonic signals.

●

In Noise mode, the original spectrum is used to shape a white noise signal. Thismode is suited for mainly noisy or inharmonic signals.

Loop●

If Loop is set to Off, playback stops at the sample end.

●

If Loop is set to On, the loop range is played back continuously. When the loop end
is reached, playback jumps back to the start of the loop.

●

If Loop is set to Alternate, playback travels alternatingly forwards and backwards
through the sample. This means that the playback direction changes every time
the loop start or end marker is reached.

NOTE
This setting is linked to the Loop Mode setting on the Sample page. Any changes you
make here are also reflected on the Sample page.
Position
Sets the playback position. At a setting of 50 %, the playback position is in the middle ofthe sample.
Purity (Tonal Resynth Mode only)
Allows you to adjust the spectral purity of the sound. At 0 %, you hear the original
sound.
●

Positive values increase the level differences between partials, which results in apure sound.

●

Negative values decrease the level differences between partials, which results in anoisy, impure sound.

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Purity Velocity (Tonal Resynth Mode only)
Allows you to define how the incoming velocity modulates the Purity. The amount thatis set with the Purity control defines the value that is reached with maximum velocity.
Positive values increase the Purity for lower velocities.
Negative values decrease the Purity for lower velocities.
Formant Shift
Allows you to shift the formants of the spectrum.
Formant Scale
Scales the intensity of the formant filter.
If this parameter is set to 0, Formant Shift and Formant Key Follow have no effect.
With negative values, the effect of the formant filter is inverted.
Formant Key Follow
Allows you to shift the formants with the played pitch.
With a value of 100 %, the formants follow the pitch. With a value of 0, the formants
remain static. If you want to emulate the rather static formant characteristics of real
instruments, start by setting this value to 0 and slowly raise it until you get the desired
formants when playing notes in different key ranges.
Sync to Tempo
Allows you to synchronize the playback speed to the tempo of the host application.
If Sync to Tempo is activated, the playback speed is determined by the Speedparameter and the tempo of the host application.
If Sync to Tempo is deactivated, the playback speed is determined by the Speedparameter only.
Show Sync Options
Click the triangle above the Sync button to open a panel where you can make settings
for the Sync Mode.

Sync Mode●

If Sync Mode is set to Tempo, the playback speed is calculated using the ratio
between the original tempo of the sample and the tempo of the host application.

●

If Sync Mode is set to Beats, the playback speed is calculated using the note
length of the beats, the number of beats, and the tempo of the host application.

Speed
Adjusts the playback speed of the sample. A setting of 800.0 % equals an increase of
three octaves in pitch.
NOTE
If you change the Speed parameter, you may need to adjust the envelope length on
the envelope pages manually.
Speed Velocity
Determines how the Speed parameter is scaled by incoming velocity values. With avalue of 0, the speed is the same for all velocities. Positive values increase the speed forhigher velocities. Negative values decrease the speed for higher velocities.

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For example, with Speed set to 0 and Speed Velocity set to +100, the speed for thelowest velocity is 0 % and the speed for the highest velocity is 800 %.
With Speed set to 800 and Speed Velocity set to -100, the speed for the lowest velocity
is 800 % and the speed for the highest velocity is 0 %.
Speed Key Follow
Determines how the Speed parameter is scaled by the played key. With a value of 0,
the speed is the same for all keys. Positive values increase the speed for keys above C3and decrease the speed for keys below C3. Negative values decrease the speed for keys
above C3 and increase the speed for keys below C3.
For example, with Speed Key Follow set to 100, playing a note one octave above C3
doubles the speed and a note one octave below C3 halves the speed.
Acceleration
Allows you to speed up or slow down the initial playback speed that is defined by the
Speed parameter. Negative values slow down playback and positive values speed up
playback. You can increase or decrease the Acceleration parameter until the minimum
speed of 0% is reached and playback stops or until the maximum speed of +800% isreached.
RELATED LINKS
Filter Parameters on page 47

Waveform Display
The graphical editor shows the sample waveform and a marker at the position of the sample thatis used for extracting the spectrum.

If Speed is set to 0, the position marker remains static. At a value above 0, the marker moves toshow the current playback position. The spectrum changes depending on the sample position. If
Loop is set to On or Alternate, you can edit the loop start and end markers by dragging them inthe display.
Reverse Sample
Activate this to play the sample backwards.
This also reverses the waveform in the waveform display.
This setting is also available on the Sample page. When you change it on one page, thechange is automatically reflected on the other.
Hold Last Spectrum
Activate Hold Last Spectrum to keep the last spectrum, once sample playback reaches
the sample end or sample start, depending on the playback direction. This is especially
useful if Sustain Mode is activated for the amplifier envelope, because the lastspectrum acts like a single-cycle loop that can be played for as long as a key is held.
High Definition
Doubles the frequency resolution of the resynthesis. This can increase the soundquality for low note samples or samples that contain a very broad spectrum.

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NOTE
This mode requires substantially more processing power. Therefore, you should only
use it when necessary.
Inharmonicity (Tonal Resynth Mode only)This parameter scales the frequency offsets of all partials. The effect of this parameter
largely depends on whether frequency offsets exist in the signal. If a sound is strictly
harmonic, that is, if there are no frequency offsets, the Inharmonicity control does nothave an effect.
The frequencies of the partials are compared to the harmonic series, starting two
octaves below the played pitch. If a sound is not strictly harmonic, the frequencies
of some of the partials are offset to match the frequencies of the assumed harmonicseries.
At 0%, only harmonic frequencies are allowed. At +100%, you hear the original sound.
At +200%, the frequencies are assigned twice the frequency offset. Negative values
invert the frequency offsets accordingly.
Auto Gain
Allows you to automatically adjust the level of quieter sample parts. Note that byraising the gain, you can lose the dynamics of the sample.
Trigger
Specifies what happens when you click in the waveform display.
●

If Trigger is deactivated, you can set the position by clicking in the waveform
display.

●

If Trigger is activated, clicking in the waveform display triggers the sound.
For this, the MIDI trigger note specified for the trigger pad in the Input section is
used.

Modulating the Playback Position Using Velocity
You can use the position marker on the Resynth page to modulate the playback position using
velocity. For example, this allows you to make sounds more percussive for higher velocities byplaying the attack transient only with higher velocities.
PROCEDURE
1.

Drag the Position marker to the position from which you want the sample to be played at
the lowest velocity.

2.

Drag the Velocity Range handle to the position from which you want the sample to beplayed at the maximum velocity.

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Filter Section
The Filter section in the lower area of the page contains a spectral filter that allows you to shape
the overall spectrum of the sound.

Filter On/Off
Activates/Deactivates the spectral filter.
Filter Presets
Click Open Menu to open the menu allowing you to save, load, and delete filter
presets.
Frequency
Sets the frequency of the selected node.
Gain
Sets the gain of the selected node.
Low Cut (Tonal Resynth Mode only)
Allows you to adjust the damping of low frequencies. The higher the amount, the more
low frequencies are cut.
Low Cut does not work like a classic filter with a fixed cutoff frequency. Instead, ittakes into account the current frequencies in the sample. For example, if you set thisparameter to 10%, the low frequencies that occupy 10% of the overall energy in the
spectrum are removed. This is especially useful to remove low rumbling sounds thatcan become audible when you apply pitch shift towards higher pitches. At higher
values, Low Cut can produce more drastic effects.
Max Freq
Allows you to limit the resynthesis to the frequency range that is effectively used in asample. This way, the resynthesis does not need to compute the full spectrum, which
can greatly reduce the required processing power. Use this function when working
with layers that contain the tonal part of a decomposed sample with only a few
overtones, for example.
This parameter is particularly helpful in terms of reducing processing power if HighDefinition is activated.
NOTE
When you decompose a sample with a Cutoff setting of 1000 Hz, for example, the Max
Freq parameter for the resulting tonal component is automatically set to 1000 Hz.
dB Range
The scrollbar on the right side allows you to define the dB range in which the filter
curve can be adjusted. By default, it is set to the maximum range of +20 dB to 120 dB.
This allows you to limit the range, for example, if you want to make very subtle
adjustments within a range of +/-12 dB.

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Drag the upper or lower edge to change the maximum value or the minimum value ofthe range. When the range is limited, you can also drag the middle of the scrollbar tochange both at the same time.

Filter Parameters
If the filter is activated, the following parameters become available on the left:

Filter Velocity
Specifies how the velocity modulates the Filter Shift parameter. Increasing Filter
Velocity moves the filter towards the lower frequencies when lower velocity values
are received. The Filter Shift value is then reached with the maximum velocity.
Filter Shift
Allows you to shift the filter curve in the frequency domain. This can be compared toshifting the cutoff frequency of a classic synthesis filter.
Filter Key Follow
Allows you to adjust the Filter Shift parameter with the notes you play.
Set this parameter to positive values to raise the frequencies of the filter nodes with
notes above C3. Set it to negative values to lower the frequencies of the filter nodes
with notes above C3.
At a setting of 100, a note that is played one octave above C3 doubles the frequencies
of all filter nodes and a note one octave below C3 halves the frequencies. This meansthat the filter curve follows the pitch of the played note.

Editing the Filter Curve
By adding nodes and moving them, you can create your own filter curves.
CHOICES●To add a node, double-click in the graphical display.

●

To remove a node, double-click it.

●

To move a node, drag it to another position.
NOTE
If multiple nodes are selected, they are moved together.

●

To change the frequency of a node, select it and enter a new value in the Frequency field.
This is the same as dragging the node horizontally.

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NOTE
If multiple nodes are selected, they are moved relatively, that is, the distances between thenodes are kept.
●

To change the gain of a node, select it and enter a new value in the Gain field.
This is the same as dragging the node vertically.
NOTE
If multiple nodes are selected, they are set to the same gain.

Pitch Page
On this page, you can make settings for tuning and pitch modulation.

Pitch
Allows you to adjust the pitch of the layer by -/+ 60 semitones.
Pitch Envelope Amount
Determines how much the pitch is affected by the pitch envelope. For example, if thisparameter is set to 12, an envelope node can raise/lower the pitch by one octave.
Random Pitch
Allows you to randomly offset the pitch with each played note. Higher values cause
stronger variations. At a setting of 100 %, the random offsets can vary from -6 to +6
semitones.
Level Velocity
Determines how the velocity affects the level of the envelope.
The level of the envelope depends on two factors: the setting of this parameter andhow hard you hit a key. With positive values, the harder you hit a key, the higher thelevel of the envelope. With negative values, the harder you hit a key, the lower the levelof the envelope.
Pitch Key Follow
Allows you to adjust the pitch modulation by MIDI note number. Set this parameter topositive values in order to raise the pitch the higher you play. Use negative values tolower the pitch the higher you play.
●

At a setting of +100 %, the pitch follows the played note exactly.

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At a setting of 0 %, the sample is played with the pitch of the root key if no othermodulations are active. This means you get a fixed pitch.

Decay Time
Allows you to offset the decay time of the envelope, that is, all segments after the firstnode.
If Sustain Mode is activated, this parameter also affects the release phase.
Decay Velocity
Adjusts the influence of velocity on the Decay Time. Positive values decrease the decay
for higher velocity values. Negative values increase the decay for higher velocity values.
Decay Key Follow
Adjusts the influence of the played key on the Decay Time. Positive values decrease
the decay for keys above C3. Negative values increase the decay for keys above C3.
Glide On/Off
Activates/Deactivates Glide. Glide allows you to bend the pitch between notes that
follow each other. You achieve the best results in Mono mode.
You set up the Glide Time, Curve, etc. for all layers on the Main tab.
Pitchbend On/Off
Determines whether the layer is affected by the pitch bend wheel.
For example, this allows you to let a tonal layer follow the pitch bend, but not thecorresponding noise layer.
You set up the pitch bend range for all layers on the Main tab.
RELATED LINKS
Main Tab on page 28
Envelopes on page 53
Envelope Parameters on page 53

Filter Page
The Filter page lets you set up the filter and the filter envelope.

Filter Shape●

LP24, 18, 12, and 6 are low-pass filters with 24, 18, 12, and 6 dB/oct. Frequencies
above the cutoff are attenuated.

●

BP12 and BP24 are band-pass filters with 12 and 24 dB/oct. Frequencies below andabove the cutoff are attenuated.

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HP6 + LP18 and HP6 + LP12 are a combination of a high-pass filter with 6 dB/oct
and a low-pass filter with 18 and 12 dB/oct, respectively (asymmetric band-passfilter). Frequencies below and above the cutoff are attenuated. Attenuation is more
pronounced for the frequencies above the cutoff.

●

HP12 + LP6 and HP18 + LP6 are a combination of a high-pass filter with 12
and 18 dB/oct and a low-pass filter with 6 dB/oct (asymmetric band-pass filter).
Frequencies below and above the cutoff are attenuated. Attenuation is more
pronounced for the frequencies below the cutoff.

●

HP24, 18, 12, and 6 are high-pass filters with 24, 18, 12, and 6 dB/oct. Frequencies
below the cutoff are attenuated.

●

BR12 and BR24 are band-reject filters with 12 and 24 dB/oct. Frequencies aroundthe cutoff are attenuated.

●

BR12 + LP6 and BR12 + LP12 are a combination of a band-reject filter with 12
dB/oct and a low-pass filter with 6 and 12 dB/oct, respectively. Frequencies aroundand above the cutoff are attenuated.

●

BP12 + BR12 is a band-pass filter with 12 dB/oct plus a band-reject filter with 12
dB/oct. Frequencies below, above, and around the cutoff are attenuated.

●

HP6 + BR12 and HP12 + BR12 are a combination of a high-pass filter with 6 and 12
dB/oct and a band-reject filter with 12 dB/oct. Frequencies below and around thecutoff are attenuated.

●

AP is an all-pass filter with 18 dB/oct. Frequencies around the cutoff areattenuated.

●

AP + LP6 is an all-pass filter with 18 dB/oct plus a low-pass filter with 6 dB/oct.
Frequencies around and above the cutoff are attenuated.

●

HP6 + AP is a high-pass filter with 6 dB/oct plus an all-pass filter with 18 dB/oct.
Frequencies around and below the cutoff are attenuated.

Distortion Type
Lets you select a distortion type.
●

Tube adds warm, tube-like distortion.

●

Hard Clip adds bright, transistor-like distortion.

●

Bit Reduction adds digital distortion by means of quantization noise.

●

Rate Reduction adds digital distortion by means of aliasing.

●

Rate Reduction Key Follow adds digital distortion by means of aliasing, but withKey Follow. The rate reduction follows the keyboard, so the higher you play, thehigher the sample rate.

●

Select Off if you do not want to apply any distortion.

Distortion
Sets the amount of distortion.
Envelope AmountControls the cutoff modulation from the filter envelope.
CutoffControls the cutoff frequency of the filter.
Cutoff Velocity
Controls the cutoff modulation from velocity.

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Increasing Cutoff Velocity moves the cutoff towards the lower frequencies when lower
velocity values are received. The Cutoff value is then reached with the maximum
velocity.
Resonance
Emphasizes the frequencies around the cutoff. At higher settings, the filter selfoscillates, which results in a ringing tone.
Cutoff Key Follow
Adjusts the cutoff modulation using the note number. Increase this parameter to raise
the cutoff with higher notes. At 100%, the cutoff follows the played pitch exactly.
Decay Time
Allows you to offset the decay time of the envelope, that is, all segments after the firstnode.
If Sustain Mode is activated, this parameter also affects the release phase.
Decay Velocity
Adjusts the influence of velocity on the Decay Time. Positive values decrease the decay
for higher velocity values. Negative values increase the decay for higher velocity values.
Decay Key Follow
Adjusts the influence of the played key on the Decay Time. Positive values decrease
the decay for keys above C3. Negative values increase the decay for keys above C3.
RELATED LINKS
Envelopes on page 53
Envelope Parameters on page 53

Amp Page
The Amp page contains settings for the amplifier and the amplifier envelope.

Level
Controls the overall volume of the layer.
Stereo Width
Controls the width of the stereo field. Turn right to widen the field and turn left to
make it more narrow. If you turn the dial all the way to the left, you get a mono signal.

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NOTE
This parameter only works for stereo signals. It cannot be used to artificially widen thestereo field of a mono signal.
Pan
Determines the position of the sound in the stereo panorama. At a setting of -100%,the sound is panned hard left, and at +100%, it is panned hard right.
Pan Key Follow
Allows you to adjust the pan position of a layer via the MIDI note number. Set thisparameter to positive values to offset the pan position towards the right for notes
above C3 and towards the left for notes below C3. Use negative values to offset the panposition towards the left for notes above C3 and towards the right for notes below C3.
With the maximum setting of +200 %, the pan position moves from hard left to hardright within two octaves. Fully left is reached one octave below C3 and fully right isreached one octave above C3.
Velocity
Controls the level modulation from velocity. At 0, all velocities are played with the samelevel.
FX BusAllows you to specify to which FX bus the output of the layer is sent. All the way to theleft, the signal is sent to FX bus 1 and all the way to the right, it is sent to FX bus 2. Set itin the middle position to send equal parts of the signal to each of the busses.
Direct Out
Allows you to send the layer signal directly to the plug-in output, bypassing both effectbusses. This allows you to add layers that you do not want to be processed by theeffects to your sound.

Decay Time
Allows you to offset the decay time of the envelope, that is, all segments after the firstnode.
If Sustain Mode is activated, this parameter also affects the release phase.
Decay Velocity
Scales all times after the attack node. This allows you to lengthen or shorten the decay
and the release of the envelope depending on the played velocity. For example, thisallows you to create a hi-hat that closes and opens depending on the played velocity.
Positive values shorten the envelope and negative values lengthen the envelope withincreasing velocities.
Decay Key Follow
Scales all times after the attack node. This allows you to lengthen or shorten the decay
and the release of the envelope depending on the played note. For example, thisallows you to create a tom that sounds longer or shorter depending on the played
pitch.

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At C3, the original envelope is played. With a value of 100, a note that is played one
octave higher (C4) is played in half the time, and a note one octave lower (C2) in twice
the time.
Negative values invert this behavior.
Headroom
Specifies the headroom for polyphonic playback. By default, Backbone uses aheadroom of 0 dB. For monophonic programs, such as drum loops, leave theheadroom at 0 dB. If you play polyphonically, a headroom of 6 dB is usually sufficient.
The more layers and voices you play in parallel, the more headroom you might need to
avoid clipping on the output.
Invert Phase
Inverts the phase of the sample.
This can be useful if you are using multiple layers and the samples are canceling eachother out.
RELATED LINKS
Envelopes on page 53
Envelope Parameters on page 53

Envelopes
On the Pitch, Filter, and Amp pages, you can edit the envelopes. Each envelope is a multisegment envelope with up to 128 nodes.
The Pitch envelope modulates the pitch of the layer.
The Amp envelope shapes the volume over time.
The Filter envelope modulates the filter cutoff frequency.
When you import a sample, all envelopes adjust to the length of the sample. By default, allenvelopes play one-shot from the first to the last node.

Envelope Parameters
The envelope parameters can be found above the display.
Most of the parameters are the same for the Pitch, Filter, and Amp pages. Where there aredifferences, this is stated clearly.

Sustain Mode
We recommend to activate this if you work with non-percussive samples that you do
not play one-shot, such as bass samples. If Sustain Mode is activated, the envelope
plays from the first node to the sustain node. The sustain level is held for as long as
you play the note. When you release the note, the envelope continues with the stages
following the sustain.
Selected NodeShows the selected envelope node.
TimeSpecifies the period of time between two nodes. Depending on the Sync mode, theTime parameter is displayed in milliseconds and seconds, or in fractions of beats.

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NOTE
The fraction is always reduced to the smallest possible value. 2/16 is displayed as 1/8,
for example.
Curve
Allows you to adjust the curvature between two nodes from linear to logarithmic or
exponential behavior.
Pitch (Pitch envelope)
Specifies the pitch offset of the envelope at the position set by the Time parameter.
NOTE
This value only has an effect if Pitch Envelope Amount is not set to 0.
Level (Filter envelope and Amp envelope)
Specifies the amplitude of the envelope at the position set by the Time parameter.
Sync
Allows you to synchronize the envelope to the tempo of the host application.
If Sync is activated, a grid is displayed in the graphical editor. You can set theresolution of the grid with the Sync Note parameter.
To use triplet note values, activate the Triplets button.
Bipolar (Pitch envelope)
If this button is activated, the pitch envelope is bipolar, which means that it allows fornegative and positive values to bend the pitch.
Fixed Mode●

With Fixed Mode activated, only the selected nodes are moved when you move anode on the time axis.

●

With Fixed Mode deactivated, all subsequent nodes are moved as well when you
move a node.

Show Waveform
Shows the sample waveform in the envelope editor.
Sample Display Level Range
Allows you to specify the level range that is used in the graphical display. This provides
you with an overview of the waveform, even for low levels.
Snap
If Snap is activated and you change the position of nodes, they snap to the nodes of
the guide envelope that is shown in the background.
Show Guide Envelopes
If this button is activated, the two other envelopes are displayed as a reference in the
background. For the filter envelope, for example, this means that the pitch and amp
envelopes are shown in the background.
Auto Scale
Adapts the envelope to the length of the sample. The relative distances between thenodes are kept.

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Zooming
The vertical axis of the graphical envelope editor displays the level. The horizontal axis displays
the time.
CHOICES●To zoom in or out, click the + or - buttons to the right of the scrollbar below the graphicaleditor.

●To zoom in or out at the current position, click in the timeline, and drag up or down.

●

To toggle between full zoom and the previous zoom setting, click the A button to the right of
the horizontal zoom slider.

●To zoom to a specific region, hold Alt/Opt , click and drag the mouse over the region.

Using Zoom Snapshots
Zoom snapshots save the zoom factor and the scroll position of the editor. These are restored
when you load the snapshot.
To the right of the scrollbar, you can find three numbered buttons that allow you to save andload zoom snapshots.
NOTE
If you perform any manual zooming or scrolling, the zoom snapshot is deactivated.

PROCEDURE
1.

To save the current state of the editor as a snapshot, Shift -click one of the numberedbuttons to the right of the scrollbar.

2.

To load a zoom snapshot, click the corresponding button. The button color changes if asnapshot is active.

Selecting Nodes
CHOICES●To select a node, click on it in the graphical editor.
The focused node is indicated by a frame. The value fields above the graphical envelope
editor display the parameters of the focused node.

●

If multiple nodes are selected, you can use the Selected Envelope Node value field to set
the focus to a different node without losing the current selection.

●

To add a node to a selection, Shift -click the node. Selected nodes are edited together.

●

You can select multiple nodes by drawing a rectangle around the nodes with the mouse.

●

If the graphical editor has the focus, you can select the next or the previous node with theLeft Arrow and Right Arrow keys.

RELATED LINKS
Node Editing

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Adjusting the Time between Nodes
The Time parameter specifies the period of time between two nodes. Depending on the Sync to
Host Tempo setting, the Time parameter is displayed in milliseconds and seconds or in fractionsof beats.
To specify the time between two nodes, do one of the following:
CHOICES●

Select two adjacent nodes and enter a new value in the Time field.

●

Drag a node to the left or the right in the graphical envelope editor.

●

For a higher resolution, hold Shift while moving the nodes.
To limit the movement to the time axis, that is, to change only the horizontal position of anode, hold down Ctrl/Cmd while dragging.

Adjusting the Level of the Nodes
The Level parameter specifies the amplitude of the selected envelope node.
To set the level of a node, do one of the following:
CHOICES●

Select a node and enter a new value in the Level field.

●

Drag one or multiple selected nodes up or down in the graphical editor.
For a higher resolution, hold Shift while moving the nodes.
To limit the movement to the level axis, that is, to change only the vertical position of a node,hold down Alt/Opt while dragging.

Adjusting the Curve between Nodes
The Curve parameter allows you to adjust the curvature between two nodes from linear tologarithmic or exponential behavior.
To adjust the curve, do one of the following:
CHOICES●

Select the node or nodes that you want to adjust and enter a value in the Curve field.
Positive values change the curvature towards logarithmic and negative values towards
exponential behavior.

●

Click on the curve between two nodes in the graphical envelope editor and drag up or down.
Ctrl/Cmd -click a curve to reset it to linear.

Synchronizing Envelopes to the Host Application
You can synchronize the envelopes to the tempo of your host application. This allows you to set
envelope times that relate to musical time intervals, regardless of any tempo changes.
PROCEDURE
1.

Click Sync to activate sync mode for the envelope.
Sync mode is active if the button is highlighted. A grid spaced in fractions of beats is
displayed in the graphical envelope editor.

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2.

From the pop-up menu located to the right of the Sync button, select a note value.
This sets the resolution of the grid.
NOTE
The Time field of a node displays times in fractions of beats. The fraction is always reduced
to the smallest possible value. 2/16 is displayed as 1/8, for example.

3.

To use triplet note values, activate the Triplets button.
NOTE●

Envelope nodes that do not exactly match a note value display the closest note value.

●

Nodes that match a note value exactly are indicated by a red dot inside the handle ofthe node. This is useful if you switch the grid between triplets and normal note values,for example. The triplet nodes still indicate that they match a note value, even if the gridshows normal note values.

You can also enter note values and triplets manually in the value field.

Adjusting the Envelope Length to the Length of the Sample
When you change the length of the sample, you can automatically set the envelope length to the
new sample length.
PROCEDURE
1.

On the Sample page, move the Sample End marker to the left.

2.

Open one of the envelope pages: Pitch, Filter, or Amp.

3.

On the toolbar, activate Show Waveform.
You can see that the envelope is longer than the underlying sample waveform.

4.

On the toolbar, click Scale Envelope to Length of Sample.

RESULT
The envelope length is modified to match the length of the sample.
NOTE
When you change the sample length by adjusting the Speed parameter on the Resynth pageor when you loop a sample, it can be necessary to adjust the envelope length manually after
applying Scale Envelope to Length of Sample.

Sample Export
You can export samples to render effects into your samples, to save processor power, or to apply
further editing and effects to the rendered samples, for example.
You can render and export single layers or all layers.

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Sample Export

Exporting Single Layers
You can export a single layer using drag and drop.
PROCEDURE
1.

Click and hold the Drag to Export Layer button.

You can find this button in the top right corner on a page that is in edit view. If the overview
of all pages is shown in the Edit section, this button is located in the top right corner of theAmp page.
2.

With the button pressed, drag the layer onto a track in your DAW, into a folder on yoursystem, or onto another layer slot in Backbone.

RESULT
The layer is added as a sample at the drop position. The exported file gets the name of the layer,
followed by a number that increases with each export. The folder in which the file is saved andthe way the sample is rendered depends on the settings in the Export Settings pane.
RELATED LINKS
Export Settings on page 13
Edit View vs. Overview on page 32

Exporting All Layers
You can export the sound that is produced by all layers when a note is triggered.
PREREQUISITE
You have set up the layers to produce the sound that you want to export.
PROCEDURE
1.

In the output section in the top right of the window, click Export Settings

2.

Set up the parameters.

3.

Click Export.

RELATED LINKS
Output Section on page 12

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You can manage your files using the Load panel.
In the top section of the panel, you specify which sounds to look for. The lower section presents
the corresponding results.

Load Panel
The Load panel allows you to manage, navigate to, load, and preview different file types.
To display the Load panel, click Show/Hide Load Panel on the toolbar.

To open the Load panel in a separate window, click Dock/Undock Load Panelof the panel.

in the top right

The Load panel contains the Programs, Layers, and Browser tabs.

●

The Programs tab contains the available programs that you can load.

●

The Layers tab allows you to load individual layers into the slots.

●

The Browser tab allows you to browse your file system for samples and for presets that you
exported or that you saved to a directory that is not automatically scanned by Backbone.

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File Management with the Programs and Layers Tabs of the Load PanelNOTE
If you load a preset that references content from a license-protected library and you do not havethe corresponding license or have deactivated it, the content cannot be played and a warning
icon is displayed in front of the preset name.

RELATED LINKSManaging and Loading Files on page 59
File Management with the Programs and Layers Tabs of the Load Panel on page 60
File Management with the Browser Tab of the Load Panel on page 69

File Management with the Programs and Layers Tabs of the
Load Panel
The Programs and Layers tabs give you access to the available programs and layers. They arebased on Steinberg’s MediaBay technology, that is, they allow you to filter the results and findspecific files quickly.
Unless stated otherwise, the controls are the same for the Programs and Layers tabs.
In the top section of the page, you can specify which sounds to look for. The lower section
displays the corresponding results.
●

To adjust the size of the two sections, drag the divider at the top of the results list.

Reset Filter
Resets all filter settings.
Preset controls

You can save, load, and delete the settings of a MediaBay search, which includes
both the search mask at the top and the results list. This allows you to create searchtemplates for different search scenarios, for example.
Saving the MediaBay with active search filters allows you to create different preset
collections that can be recalled very quickly. These collections are dynamic, that is, any
new presets added to your system at a later time also appear in the results list when a
new search is performed.

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Search Mask and Results List

Select Library
Click the library icon on the left to open the library selector, where you can specify
which library to search for content.
Factory
Activate this button to search for presets that are part of commercial or free libraries
and that are installed on your system as VST Sound libraries. These libraries can be partof HALion or HALion Sonic, for example, or they can be included in expansion libraries.
User
Activate this button to search for presets that you have created and saved in theMediaBay.
Filter Text
In the text search field, you can enter text that is part of the name or an attribute of apreset that you are looking for. For example, if you enter Piano, the results list displays
all presets whose name contains “Piano”, or presets for which the term “Piano” is usedin one of the attributes, such as the Category attribute Piano or the Subcategory
attribute Keyboard | E.Piano.
Configure Attribute Menus
Allows you to add attribute menus, where you can specify attributes for your search.
The following attribute menus are available:●

Category opens a tree view that allows you to select a Category or a
Subcategory. Subcategory tags are shown together with the corresponding
Category, in the following way: (Category | Subcategory).

●

Style opens a tree view which allows to select a Style or a Substyle. Substyle tags
are shown together with the corresponding Style, in the following way: (Style |Substyle).

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Properties opens the Properties dialog, where you can add one or multiple
Properties attributes.
To search for a Properties attribute, enter a text string in the text field, such as
warm, for example. When you start typing, the available properties are shownand can be selected from the list. If the entered text does not match any of theexisting attribute values, all available attribute values are shown in alphabeticalorder. By adding multiple properties, you can narrow down the results to the ones
that match both properties.
Alternatively, click Show All Attribute Values
next to the text field to open a listof all Properties attributes. You can search for matching attributes by scrolling thelist. Press Return or click a property to add it.
To add a new Properties attribute, enter the text and press Return .
If you specify multiple attributes, you can change their order using drag and drop.

●

Moods opens the Moods dialog, where you can add one or more Moods
attributes.
To search for an attribute, enter a text string in the text field, such as energetic,for example. When you start typing, the available properties are shown and canbe selected from the list. If the entered text does not match any of the existing
attribute values, all available attribute values are shown in alphabetical order. By
adding multiple properties, you can narrow down the results to the ones thatmatch both properties.
Alternatively, click Show All Attribute Values
next to the text field to open a listof all attribute values. You can search for matching attribute values by scrolling thelist. Press Return or click an attribute value to add it.
To add a new Moods attribute, enter the text and press Return .
If you specify multiple attributes, you can change their order using drag and drop.

●

Articulations opens the Articulations dialog, where you can add one or more
Articulations attributes.
To search for an attribute, enter a text string in the text field, such as
Decrescendo, for example. When you start typing, the available articulations areshown and can be selected from the list. If the entered text does not match any ofthe existing attribute values, all available attribute values are shown in alphabeticalorder. By adding multiple articulations, you can narrow down the results to theones that match both articulations.
Alternatively, click Show All Attribute Values
next to the text field to open a listof all Articulations attributes. You can search for matching attributes by scrolling
the list. Press Return or click an attribute to add it.
To add a new Articulations attribute, enter the text and press Return .
If you specify multiple attributes, you can change their order using drag and drop.

●

Author opens a list with all available authors.

●

Key opens a list with all available keys.

●

Signature opens a list with all available signatures.

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Tempo opens the Tempo dialog, where you can select a Tempo and specify aRange in which the tempo of the result can deviate from the set tempo. Activate
the Half-Timeor Double-Timebuttons to include presets that use half or
double the tempo.

Rating Filter
Allows you to limit the results list according to the rating of the presets. Use the rating
slider to define the minimum rating.
Set up Result Columns
Allows you to select which attribute columns to display in the results list.
Results Counter
Displays the number of files that match the filter criteria. To stop an active scanning
process, click in the value field.

Browsing for Files
The Programs and Layers tabs allow you to browse for and load files. You can restrict theamount of files that are searched by filtering the results list or entering a search text. On theLayers tab, you can use the Prelisten controls to listen to the files.
PROCEDURE
1.

Use the Factory and User buttons at the top of the window to specify whether you want tobrowse through the factory content or the content that you created yourself.
You can activate both buttons to browse through the entire content.

2.

Click the library icon to the left of the Factory and User buttons to open the library selector.

3.

In the library selector, specify where you want to search for files: To select a particularlibrary, click it. To browse through the entire content, select All Libraries.
If the library that you want to use is not shown in the visible part of the selector, use thescroll bar, or enter the library name or part of the name in the search field. For example,
enter “LoFi” to reduce the list to all libraries whose names contain “LoFi”.

NOTE
If you enter search text, the library selector shows all libraries whose names contain the text,
plus all libraries containing files whose names or attributes contain the text.

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When you select a library, the text search field is cleared, and the results list shows the files
contained in the library.
4.

Above the results list, a list of suggested filter tags is displayed, based on the mostfrequently used tags. To use a suggested tag as a filter tag, click it. You can activate several
filter tags simultaneously.

NOTE
Active filter tags have a blue border and are displayed to the left of the suggestions.
The list of suggested filter tags is updated with every active filter tag.

5.

●

To remove a filter tag, click its Remove Filter button.

●

To remove all tags, click Remove All Filters between the filter tags and the suggestions.

Optional: Add attribute menus to search for specific types of presets. To add or remove amenu, click the Configure Attribute Menus button, and select/deselect the corresponding
attribute.
This allows you to perform a search for a specific instrument or for loop-based presets.
For example, when looking for instruments, the Category, Articulations, and Properties
attribute menus are particularly useful, whereas when looking for loop-based presets, werecommend to search for Style, Tempo, and Signature.

6.

If you are looking for a specific file, enter its name in the text search field on the toolbar.
You can also enter text that is part of the file name or the file attributes in the search field.
While you type, the list of suggested filter tags is updated. This allows you to see in how
many and in which attributes your search text is used.

The Nameand All Attributes
tags are the first suggestions. To show which attribute
another suggested filter tag belongs to, hover the mouse pointer over it to view its tooltip.

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TIP
Combining tags from different attributes means that both filter criteria need to be matchedto create a result. If you add multiple tags for the same attribute, the result only needs tomatch one of them.
7.

Optional: You can set the search parameters so that they include or exclude presets withspecific tags. To do so, define the Mode for the filter tag by right-clicking it, and selecting an
option from the menu.

●

Default is the standard behavior. This is indicated by a blue frame.

●

Include can list presets, even if the filter tags prevent this. For example, if you specify
Category = Piano, Property = Warm and Name = Warm Piano (Mode = Include), theresults list shows presets whose Category and Property attributes match, in addition to
any presets whose names contain “Warm Piano”. Include mode is indicated by a green
frame around the filter tag.

●Exclude can exclude presets from the results list, even if their attributes match yoursettings. For example, if you specify Category = Piano and Property = Warm (Mode =Exclude), only piano presets for which the Warm tag is not set are listed. Exclude mode
is indicated by a red frame.

8.

If you browse through the available layers on the Layers tab, you can use the Prelisten
controls to listen to the files.

9.

Double-click the file that you want to load.
If you load a program, this replaces the current program.
If you load a layer, this loads the layer into the selected slot. If the slot already contains alayer, it is replaced.

Configuring the Results List
You can specify which file attributes to display in the results list and set up the column orderso that these attributes are visible without scrolling. This allows you to quickly find files withparticular attributes.
CHOICES●To define the attributes to be shown in the results list, click Set up Result Columns in theupper right corner of the results list, and activate the corresponding entries. New attributes
are added at the right of the list.

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Select None deselects all attributes.

●

Use Defaults resets the results list to show the default attributes.

●

All Available adds columns for all available attributes.

●

To reorder the columns in the results list, drag the column headers to another position.

●

To change the sorting of the list entries, click the column header. The triangle in the column
header shows the sorting direction.

Adding Categories and Subcategories, or Styles and Substyles
If the available attributes for Categories, Subcategories, Styles, and Substyles are not sufficient to
tag your programs and layers, you can add new attributes and use them instead.
PROCEDURE
1.

Click the value field in the Category, Subcategory, Style, or Substyle column, depending on
where you want to add the new attribute.

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2.

Enter the attribute that you want to add.
You must fill out both the Category and Subcategory, or Style and Substyle text fields.

3.

Click Add

to add the new attribute.

RESULT
The new attributes are added to your program or layer.
NOTE
The attributes are saved in the program or layer, not in the plug-in or the project of your DAW.
If you create new attributes without using them in a preset, they are lost when you close theplug-in or the project.

Editing Attributes in the Results List
You can add and edit attributes for your content in the results list of the Load panel.
PROCEDURE
1.

Select the program or layer that you want to edit.

2.

In the attribute column for the attribute that you want to edit, click in the value field.
If the column is not shown, add it from the Set Up Result Columns menu.

3.

Depending on the attribute, a menu or a dialog opens. Do one of the following:

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For the attributes Articulations, Moods, and Properties, enter the text in the value fieldand click OK.
On entering characters, a menu opens that suggests existing attributes that begin withthe entered text. Select one of the suggestions by using the arrow keys or enter the full
text.
NOTE
You can add multiple attributes in the dialog.

●

For attributes that open a menu, select the element that you want to use from themenu.
For Category, Subcategory, Style, and Substyle, you can add new attributes to the list.

●

For value or text fields, enter the value or the text and press Return .

NOTE
You can also set up attributes when saving or exporting programs.

RELATED LINKS
Editing Attributes when Saving or Exporting Programs on page 77

Layer Page Prelisten and File Info Section
The section below the results list allows you to play back the focused layer and shows the file
name.

Level
Adjusts the playback level.
Play
Plays back the focused file.
Stop
Stops playback.
Auto Play
Automatically starts playback of the focused file.
Auto Play Options
Click the triangle above the Auto Play button to select an option.
●

If Always is selected, selecting a file in the results list always triggers playback.

●If Auto is selected, selecting a file in the results list does not trigger playback if asequence from the host is playing. This prevents the samples from being triggered
off the beat.

Prelisten in Place
Temporarily loads the selected layer into the active slot for prelistening. During
prelisten, an animation is shown in the edit section.

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File Management with the Browser Tab of the Load PanelIn the lower left of the section, two buttons are shown, allowing you to load
preloaded layer, or to cancel
prelistening and return to the original layer.

theFile Management with the Browser Tab of the Load PanelWith the Browser, you can navigate to specific directories on your system and load files fromthere.

Path Section●

To step through the recent locations, click the Previous Browse Location/Next Browse
Location buttons.

●

To navigate to the folder one level up in the location tree, click the Browse Containing
Folder button.

●

The path to the current position in the hierarchy is shown on the right. To navigate to one ofthese folders, click its name.

●

To open the history, click the Navigation History button on the right.

Location Tree
The location tree allows you to navigate through your samples, in any folder on your system.
If you select an entry in the tree, the results list shows the corresponding content.

Location Tree Context Menu
Collapse Tree
Collapses the selected element in the tree.
Refresh Views
Updates the tree. This is useful if you added a new disk to your setup or created a new
folder on the hard disk.
Create New folder
Creates a new folder in the selected location.
Show in Explorer (Win)/Reveal in Finder (Mac)Shows the location of the selected file in your system.

Locations
You can save folders or directories in your system as favorite locations for quick access.
The text field above the tree shows the name of the selected folder. If the name is preceded byan asterisk, the folder has not been saved as a location yet.

Managing Locations●

To open the list of favorite locations, click in the text field.
If you have not created any locations yet, this list is empty.

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To add the current folder as a favorite location, click Add Selected Media Node as Favorite
Location.
You can keep the folder name or specify a new name for the location.

●

To delete the current location from the list, click Remove Favorite Location.

Results List
The results list shows the files found in the selected folder. It displays the files that Backbone canread, such as VST presets or samples.
In addition to information like file name and path, the columns in the results list can be
configured to show different attributes.
The results list also shows any subfolders of the selected folder, but does not include the files
contained in the subfolders themselves. To see the content of subfolders, you must select thecorresponding subfolder.

Filter by Sound Component

Allows you to filter the list to show only the tonal or the noise components created by
the Decompose function, to show both the tonal and noise components, or to show all
files.
Search Subfolders●

If this button is activated, the search includes all subfolders of the specified
location.
To automatically perform a new search for files when you switch between folders,
activate Auto Search .

●If this button is deactivated, only the selected location is searched for files.

Text Search
In the text search field on the results list toolbar, you can enter text contained in thename or any of the attributes of a preset that you are looking for. The results list
updates in real time, and the category search section above shows all categories that
contain presets matching the text search.
To reset the text-based result filter, click Clear Filter Text next to the search field.

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Set up Result Columns
Allows you to select which attribute columns to display in the results list.
Results Counter
Displays the number of files that match the filter criteria. To stop an active scanning
process, click in the value field.
RELATED LINKS
Configuring the Results List
Adding Categories and Subcategories, or Styles and Substyles on page 71
Sound Component Filter on page 72
Searching for Files on Your System on page 72

Adding Categories and Subcategories, or Styles and Substyles
If the available attributes for Categories, Subcategories, Styles, and Substyles are not sufficient to
tag your programs and layers, you can add new attributes and use them instead.
PROCEDURE
1.

Click the value field in the Category, Subcategory, Style, or Substyle column, depending on
where you want to add the new attribute.

2.

Enter the attribute that you want to add.
You must fill out both the Category and Subcategory, or Style and Substyle text fields.

3.

Click Add

to add the new attribute.

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RESULT
The new attributes are added to your program or layer.
NOTE
The attributes are saved in the program or layer, not in the plug-in or the project of your DAW.
If you create new attributes without using them in a preset, they are lost when you close theplug-in or the project.

Sound Component Filter
When you want to edit or use your tonal or noise samples, you can filter the results list to show
only these samples.
On the toolbar, click Filter by Sound Component and select an option from the pop-up menu.

Show All Files
If this option is selected, the results list is not filtered.
Show Tonal Components
Displays only the samples containing the tonal component. Those samples have theextension “_tonal”.
Show Noise Components
Displays only the samples containing the noise component. Those samples have theextension “_noise”.
Show Components Only
Displays both the noise and the tonal sample files. Other files are filtered out.

Searching for Files on Your System
Instead of searching the current results list, you can also use the text search to look for files on
your hard disks or in VST Sound containers.
PROCEDURE
1.

Select the location that you want to use as the starting point for the search.
The higher up in the hierarchy the location, the longer the search takes.
button, and enter the2.

In the top left corner of the results list, click the Search Subfolders
search text in the text field.

3.

Optional: To restrict the search to the name of the file, activate Search Names Only
the right of the text field.

4.

Optional: Click the button to the right of the search field to specify whether you want tosearch for programs, layers, samples, or all types.

5.

To start the search, press Return , or click Search/Stop Search.
The files that match the search criteria are listed in the results list.
NOTE
The maximum of files that can be displayed in the list is 10,000.

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6.

Double-click a result to show it in the location tree.

Prelisten and File Info Section
The section below the results list allows you to play back the focused element and shows
information about the file.

Level
Adjusts the playback level.
Play
Plays back the focused file.
Stop
Stops playback. The playback cursor jumps back to the start of the file.
Pause
Pauses playback. Click again to resume playback.
Loop Playback
If this button is activated, the focused file is played back repeatedly.
Auto Play
Automatically starts playback of the focused file.
Auto Play Options
Click the triangle above the Auto Play button to select an option.
●

If Always is selected, selecting a file in the results list always triggers playback.

●If Auto is selected, selecting a file in the results list does not trigger playback if asequence from the host is playing. This prevents the samples from being triggered
off the beat.

Prelisten in Place
Temporarily loads the selected sample or layer for prelistening. This allows you to try
out how it would sound in your current project context. During prelisten, an animationis shown in the edit section.

In the lower left of the section, two buttons are shown, allowing you to load
preloaded layer, or to cancel
prelistening and return to the original layer.

theWhether Prelisten in Place replaces only the sample or the entire layer depends on
the selected Replace Mode.
Replace Mode●

Replace Layer
values.

loads the sample and resets the layer settings to their default

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Replace Sample
replaces the current sample and resets sample start/end, loop
start/end and fade in/out. Any other settings that you made for the layer are kept.

NOTE
The selected Replace Mode is taken into account when you load the sample or layer.

Saving and Exporting Programs
The MediaBay is Steinberg's database to manage your content, quickly find files that you arelooking for, specify attributes for your files, and much more.
With the MediaBay tab in the save and export dialogs, programs are written into a Backbonespecific user documents folder. This folder is scanned for content by the database. All samples
that are used in your programs remain in the location from where they were added.
There can be situations where you will want to save your programs to a different location on thefile system, for example, if you are cooperating with multiple users on a sound design project,
where everybody works on the same source samples and saves programs to the same sharedlocation. In this case, you can save your program via the File System tab. This way, you can makesure that the relation between the presets and the referenced samples remains the same for allparticipants.
With the functions Export with Samples and Batch Export with Samples, you can consolidate
your VST 3 preset and sample files in a specific folder. This allows you to archive your files orto transfer them onto another system. The relative file paths allow the files to be loaded onanother system. Note, however, that the folder structure that is created during export must not
be modified afterwards.

Saving Programs
CHOICES●To save the current program without any additional settings, click Save/Export Programs
and select Save.
This overwrites the current program.
NOTE
If the program has not been saved before, the Save dialog opens.

●

To save the current program and assign MediaBay attributes for it, click the Save Program
button in the program loader or click Save/Export Programs and select Save As from the
pop-up menu.

This opens the Save dialog, where you can add attributes to your programs, specify alocation for the saved file, and more.

RELATED LINKS
Save Dialog on page 75

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Save Dialog
You can save your programs either into the MediaBay database or to a location on your filesystem. Usually, the MediaBay is the best choice, because it uses the file and folder structure
and the save locations that are used in other Steinberg products, so that you can be sure thatyour programs can be opened and edited there, too.

MediaBay Tab
Programs that are saved via the MediaBay tab are saved in the standard location for VST 3
presets, and therefore become available on the program loader and the Load panel.

Previous Browse Location/Next Browse Location
These buttons allow you to step between the recent locations.
Browse Containing Folder
Opens the folder one step higher up in the hierarchy.
Create New Folder
Creates a new folder at the current hierarchy. This way, you can save your exported
programs in different folders, for example, named after their content, musical style or
instrument, creation date, etc.

Attributes Section
On the right of the dialog, you can edit the attributes.
Attribute
The Attribute column lists the available attributes.
Value
Double-click in the Value column of the selected attribute to edit the value.

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File System Tab
This tab allows you to choose the folder on your system where you want to save your presets.
This can be useful if you are collaborating with other musicians and everyone must be able toaccess and edit the files in your working directory, for example.
Programs that are saved via the File System tab do not become available in the MediaBay.

At the top of the window, the path to the current position in the folder hierarchy is shown. To
navigate to one of these folders, click its name.
To specify the folder in which you want to save the program, navigate to and select it in thelocation tree on the left.
The file list below the location tree shows the VST presets located in the selected folder. This
allows you to select a specific preset, to overwrite it with the current settings, for example.

Exporting Programs with Samples
Exporting a program together with its samples allows you to export the program and all therequired samples to a folder of your choice. This makes it easier to share a program withother musicians, to transfer it to another computer, or to archive your presets and samples, forexample.
PROCEDURE
1.

Click Save/Export Programs in the program loader to open a pop-up menu and selectExport with Samples.

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Saving and Exporting Programs2.

In the dialog, specify the save location and the name for the program.

RESULT
The exported program is written into a folder named after the program. The samples are written
into a “Samples” subfolder. The exported program references the samples inside the created“Samples” subfolder.
AFTER COMPLETING THIS TASKYou can transfer the program and the samples to another system. As long as you keep theexported folder structure, the samples will be loaded with the program.

Editing Attributes when Saving or Exporting Programs
When saving or exporting programs, the MediaBay tab allows you to make attribute settings.
Attributes can be used to describe your sound using keywords. Attributes can be used on the
Load panel and in the MediaBay of your Steinberg DAW. The more carefully you choose theattributes, the easier you will find specific presets that you search for.
PROCEDURE
1.

Click Save Program.

2.

In the New Preset Attributes section of the dialog, click in the field of the attribute valuethat you want to set.

3.

Depending on the attribute, a menu or a dialog opens. Do one of the following:●

For the attributes Articulations, Moods, and Properties, enter the text in the value fieldand click OK.
On entering characters, a menu opens that suggests existing attributes that begin withthe entered text. Select one of the suggestions by using the arrow keys or enter the full
text.
NOTE
You can add multiple attributes in the dialog.

●

For attributes that open a menu, select the element that you want to use from themenu.
For Category, Subcategory, Style, and Substyle, you can add new attributes to the list.

●4.

For value or text fields, enter the value or the text and press Return .

Click OK.

RESULT
The attribute is saved in the program.

Adding Categories and Subcategories, or Styles and Substyles
If the available attributes for Categories, Subcategories, Styles, and Substyles are not sufficient to
tag your programs and layers, you can add new attributes and use them instead.
PROCEDURE
1.

Click the value field in the Category, Subcategory, Style, or Substyle column, depending on
where you want to add the new attribute.

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Managing and Loading Files
Saving and Exporting Programs

2.

Enter the attribute that you want to add.
You must fill out both the Category and Subcategory, or Style and Substyle text fields.

3.

Click Add

to add the new attribute.

RESULT
The new attributes are added to your program or layer.
NOTE
The attributes are saved in the program or layer, not in the plug-in or the project of your DAW.
If you create new attributes without using them in a preset, they are lost when you close theplug-in or the project.

Batch Exporting Programs
If you have created multiple programs that you want to transfer to another system, you can use
the batch export functionality.
PROCEDURE
1.

Click Save/Export Programs in the program loader to open a pop-up menu and select Batch
Export with Samples.

2.

Add the programs that you want to export to the list.
●

Click Add Program to add a program to the list.

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Saving and Exporting Programs●

Click Add Folder to add a specific folder to the list.

3.

Specify a Destination Folder and a naming scheme for the samples.

4.

Optional: Specify whether you want to trim the samples and include the fade curves in theexported files.

5.

Click OK.

RESULT
All programs and samples are exported to the specified location.
RELATED LINKS
Batch Export Dialog on page 79

Batch Export Dialog
Batch exporting presets with samples allows you to export multiple programs together with theirsamples. In the Batch Export dialog, you can add programs and folders and make settings forthe exported samples.
To open the dialog, click Save/Export Programs and select Batch Export with Samples.

Source Files
You can add all the programs and folders that you want to export to the Source Files
list on the left.
Add Program
Opens a dialog where you can navigate to and select programs that you want toexport.
You can also add programs using drag and drop.
Add Folder
Opens a dialog where you can navigate to and select a folder that you want to export.
You can also add folders using drag and drop.
Remove Entry
Removes the selected item from the list.
Destination Folder
Allows you to specify into which folder the programs and samples are exported.

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Saving and Exporting Programs
Sample Name
Allows you to use variables to define how the exported samples are named.
●$(Sample) uses the original file name of the sample.

●$(SampleFolder) uses the name of the folder of the original samples.

●$(Layer) uses the name of the layer.

●$(Program) uses the name of the program.

●$(RootKey) uses the MIDI note number of the root key.

●$(RootKeyText) uses the name of the root key.

●$(SampleRate) uses the sample rate of the samples.

●$(BitDepth) uses the bit depth of the samples.

●$(Date) uses the system date in the format yymmdd.

●$(Time) uses the system time in the format hhmm.

EXAMPLE$(Sample)_$(RootKeyText) appends the name of the root key to each sample file name.
Trim Samples
Trims the samples to the range that is defined by the sample start/end markers.
Fade In/Out
Activate this option to render the fade in and fade out curves in the exported samples.

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Working with Effects
You can load and edit effects and set up the effect routing in the Effects section.
Effects are saved in the program, not in the layers. If you want to render your effects into a layer,
you can export it as a sample.
RELATED LINKS
Exporting All Layers on page 58
Effects Reference on page 87

Effects Section
In the Effects section, you can add and set up effects for the two effect busses and specify theeffect routing.
To show/hide the Effects section, click Show/Hide Effects on the toolbar.

The section on the left shows the effect routing. The section on the right shows the four effecteditors of the selected bus. To select the effect bus, click the FX 1 or FX 2 buttons in the routing
section.

Routing Section
In the routing section on the left, you can load, move, and remove effects and get an overview
over the effect routing.

Switch Off All Effects
Activates/Deactivates the entire Effects section. You can use this to bypass all effects.
Bus Routing menu
Allows you to choose between five different routings. The signal flow of the selectedrouting is displayed in the routing section.

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Effects Section
Open Menu
The Open Menu
button on the right of the routing section header allows you toload a preset, save your changes in a new preset, or delete a user preset. These presets
contain all Effects section settings, allowing you to save and reuse your effect chains.
Show FX 1 Bus Effects/Show FX 2 Bus Effects
These buttons allow you to determine whether the effect editors for the FX 1 bus or the
FX 2 bus are shown in the editors section on the right.

Bus Routing
Backbone provides a flexible two-bus output routing. Each of the busses can host up to four
effects.
The Amp section of each layer can be sent either exclusively to one bus or to both of them, withadjustable levels. This way, you can realize complex effect combinations and routing scenarios.
On the Bus Routing menu, you can choose between five routings. Click the Bus Routing button
to open the menu.

SerialIn this mode, the output of the FX 1 bus is mixed into the FX 2 bus. This way, you can
use up to eight effects in series.
Serial 2-4
With these configurations, the output of the FX 1 bus is mixed into the FX 2 bus, after
the first, second, or third effect of the FX 2 bus. This allows you to use one, two, or
three effects exclusively on the FX 2 bus without processing the output signal from the
FX 1 bus.
ParallelIn this mode, the two busses are treated separately from each other and are mixed
before they are sent to the plug-in output. This can be useful if you want to use
different effects for the tonal and noise layers, for example.

The signal flow is shown in the routing diagram in the routing section.

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Effects Section
NOTE
If Direct Out is activated on the Amp page for a layer, the layer signal is sent directly to theplug-in output, bypassing both effect busses.

RELATED LINKS
Amp Page on page 51

Using One Main Bus with an Additional AUX Bus for Send Effects
Let’s say you want to add reverb to your snare drums. In this example, the FX 1 bus acts as bus
for the aux effects and FX 2 is the main bus.
PREREQUISITE
You have added a snare drum layer.
PROCEDURE
1.

On the Bus Routing menu, select Serial.

2.

Click in the first effect slot of the FX 1 bus and add the Reverb effect from the Timesubmenu.

3.

In the effect editor for the Reverb effect, set the Mix parameter of the Reverb effect to its
maximum setting of 100.

4.

Click in the second effect slot of the FX 1 bus and add the Equalizer effect from the EQ/Filter
submenu.
This way, you can process the reverb signal with the equalizer.

5.

Open the Amp page for the layers to which you want to add the Reverb effect and use the FX
dial to specify which portion of the signal you want to send to the Reverb effect.

6.

Click in the first effect slot of the FX 2 bus and add the Compressor effect from the Dynamics
submenu.

RESULT
The output of FX 1 is mixed with the dry layer signals and then sent into the FX 2 bus where thesum of both signals is compressed.

Using Two Independent Busses for Individual Effect Chains
Let’s say you have added two layers and want to process them using different effects.
PREREQUISITE
You have added two layers.

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Effects Section

PROCEDURE
1.

On the Bus Routing menu, select Parallel.

2.

Click in the first effect slot of the FX 1 bus and add the Reverb effect from the Timesubmenu.

3.

Click in the first slot of the FX 2 bus and add the Delay effect from the Time submenu.

4.

On the Amp page for the first layer, turn the FX dial fully left to send the signal to the reverb.

5.

In the effect editor for the Reverb effect, adjust the Mix parameter to specify how muchreverb you want to add.

6.

On the Amp page for the second layer, turn the FX dial fully to the right to send the signal tothe delay.

7.

In the effect editor for the Delay effect, adjust the Mix parameter to specify how much delay
you want to add.

RESULT
The first layer is processed with a reverb effect and the second layer with a delay.

Using Two Independent Busses with Individual Effects and Master Effects
Let’s say you have decomposed a kick drum sample and want to use a distortion effect on the
tonal component, add an equalizer to the noise component, and then want to compress theresulting combined signal.
PREREQUISITE
You have two layers, one containing the tonal and one the noise component of a kick drum.
PROCEDURE
1.

On the Bus Routing menu, select Serial 2.

2.

Click in the first slot of the FX 1 bus and select the Distortion effect from the Distortion
submenu.

3.

Click in the first slot of the FX 2 bus and select the Equalizer effect from the EQ/Filter
submenu.

4.

On the Amp page for the tonal kick layer, turn the FX dial entirely to the left to send thesignal to the distortion effect.

5.

Adjust the amount of distortion that you want to apply to the body of the kick signal.

6.

On the Amp page for the noise kick layer, turn the FX dial entirely to the right to send thesignal to the equalizer effect.

7.

Use the equalizer to shape the noise layer to your liking.

8.

Click in the second slot of the FX 2 bus and add a Compressor effect from the Dynamics
submenu.

RESULT
You can now compress the mixed signal of both processed layers.

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Loading Effects

Effect Editors Section
To the right of the routing section, the four effect editors are displayed.

●

Click the header of an effect editor to maximize/minimize the editor.
This automatically resizes the other effect editors accordingly.

Each effect comes with presets that can serve as a starting point for your own effect settings.
With the menu on the right of the editor, you can load presets, save your own presets, and delete
unwanted user presets.
RELATED LINKS
Effects Reference on page 87

Loading Effects
You can load effects in the effect slots in the routing section or in the effect editors.
CHOICES●To load an effect into an effect editor, move the mouse pointer over the editor until the
Select Effect button appears, click it, and select an effect from the menu.

●

To load an effect into an empty slot, click the slot and select the effect from the menu.

●

To replace an effect in the effect editor, click Open Menu, select Change FX, and selectanother effect from the menu.

●

To move an effect to another slot, drag it onto that slot.
If the slot already contains an effect, the effect is replaced.

●

To copy an effect to another slot, hold down Alt/Opt or Ctrl/Cmd and drag the effect onto
another slot.
You can also drag and drop effects between the two busses.

●

To move an effect between two slots, drag it there until a line indicates the position where
the effect will be inserted.

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Bypassing Effects
NOTE
If all four slots are used, you cannot insert an effect between two slots.

Bypassing Effects
To compare the sound with and without an effect, you can bypass the effect.
PROCEDURE●

To bypass an effect, move the mouse pointer over the effect slot and click Bypass Effect.

Removing Effects
You can remove effects in the routing section or in the effect editors.
CHOICES●In the routing section, move the mouse pointer over the effect slot, click Select Effect, andselect No FX from the menu.

●

In the header for an effect editor, click Open Menu

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and select Change FX > No FX.

Effects Reference
Backbone comes with a collection of high-quality studio effects.
The effects are sorted into the following categories: EQ/Filter, Dynamics, Distortion,
Modulation, Pan, and Time.

EQ/Filter Effects
The EQ/Filter submenu contains the equalizer and filter effects.

Equalizer
This high-quality 4-band parametric equalizer allows you to shape the tone color, to create abrighter or darker sound, for example. All bands are fully parametric with adjustable Gain,
Frequency, and Quality parameters. Furthermore, you can add a high-cut and a low-cut filterand edit their settings.

Click one of the numbered buttons to show the settings for the corresponding frequency band.
The two mid-range bands act as peak filters, and the low and high bands act as shelving filters.
Each frequency band offers the following controls:
On/Off
Activates/Deactivates the corresponding frequency band.
Gain
Sets the amount of cut or boost for the corresponding band.
Freq
Sets the frequency that is cut or boosted with the Gain parameter.
Q (Quality)
Adjusts the bandwidth of the mid-range peak filters from wide to narrow. By increasing
the Q value on the low and high shelving filters, you can add a dip to their shape.
The buttons to the left and the right of the numbered buttons allow you to show the settings
for the low-cut and the high-cut filter, respectively. For these filters, the following parameters areavailable:
Low-Cut On/Off
Activates/Deactivates the low-cut filter.

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Effects Reference
EQ/Filter Effects
High-Cut On/Off
Activates/Deactivates the high-cut filter.
Slope
Sets the slope for the filter. You can choose from 6, 12, 24, 36, and 48 dB per octave.
Freq
Sets the frequency for the filter.
Output meter
Allows you to monitor the output level. The peak level is shown below the meter.
To reset the peak level, click the value field.

Graphic EQThis equalizer contains ten frequency bands that can be cut or boosted by up to 12 dB.

Bands 1-10
Control the cut or boost of the corresponding frequency band.
OutputControls the overall output level of the equalizer.
The meter on the right allows you to monitor the output level. The peak level is shown below themeter. To reset the peak level, click the value field.
FlattenResets all frequency bands to 0 dB.

DJ EQ
DJ EQ is an easy-to-use 3-band equalizer that resembles the EQs found on typical DJ mixers. Thisis useful for quick sound fixes.

Low Freq/Mid Freq/High Freq
Set the amount of boost or attenuation for the low, mid, and high bands.
You can also click and drag in the display to change these values.
Low Cut/Mid Cut/High Cut
Cut the low, mid, and high bands.

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Effects Reference
EQ/Filter Effects
The meter on the right allows you to monitor the output level. The peak level is shown below themeter. To reset the peak level, click the value field.

FilterCutoffControls the cutoff frequency of the filter.
Resonance
Emphasizes the frequencies around the cutoff. At higher settings, the filter selfoscillates, which results in a ringing tone.
Filter Shape●

LP24, 18, 12, and 6 are low-pass filters with 24, 18, 12, and 6 dB/oct. Frequencies
above the cutoff are attenuated.

●

BP12 and BP24 are band-pass filters with 12 and 24 dB/oct. Frequencies below andabove the cutoff are attenuated.

●

HP6 + LP18 and HP6 + LP12 are a combination of a high-pass filter with 6 dB/oct
and a low-pass filter with 18 and 12 dB/oct, respectively (asymmetric band-passfilter). Frequencies below and above the cutoff are attenuated. Attenuation is more
pronounced for the frequencies above the cutoff.

●

HP12 + LP6 and HP18 + LP6 are a combination of a high-pass filter with 12
and 18 dB/oct and a low-pass filter with 6 dB/oct (asymmetric band-pass filter).
Frequencies below and above the cutoff are attenuated. Attenuation is more
pronounced for the frequencies below the cutoff.

●

HP24, 18, 12, and 6 are high-pass filters with 24, 18, 12, and 6 dB/oct. Frequencies
below the cutoff are attenuated.

●

BR12 and BR24 are band-reject filters with 12 and 24 dB/oct. Frequencies aroundthe cutoff are attenuated.

●

BR12 + LP6 and BR12 + LP12 are a combination of a band-reject filter with 12
dB/oct and a low-pass filter with 6 and 12 dB/oct, respectively. Frequencies aroundand above the cutoff are attenuated.

●

BP12 + BR12 is a band-pass filter with 12 dB/oct plus a band-reject filter with 12
dB/oct. Frequencies below, above, and around the cutoff are attenuated.

●

HP6 + BR12 and HP12 + BR12 are a combination of a high-pass filter with 6 and 12
dB/oct and a band-reject filter with 12 dB/oct. Frequencies below and around thecutoff are attenuated.

●

AP is an all-pass filter with 18 dB/oct. Frequencies around the cutoff areattenuated.

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Effects Reference
Dynamics Effects●

AP + LP6 is an all-pass filter with 18 dB/oct plus a low-pass filter with 6 dB/oct.
Frequencies around and above the cutoff are attenuated.

●

HP6 + AP is a high-pass filter with 6 dB/oct plus an all-pass filter with 18 dB/oct.
Frequencies around and below the cutoff are attenuated.

Mix
Sets the ratio between the dry and the wet signal.

Dynamics Effects
The Dynamics submenu contains the compressor and limiter effects.

Compressor
The Compressor reduces the dynamic range of a sound. This way, the sound gains headroom.
You can use this extra headroom to make the overall sound louder again.

The input and output meters indicate the level before and after the compressor. The gain
reduction meter in the middle indicates the current attenuation of the level. The peak level isshown below each meter. To reset the peak level, click the value field.
ThresholdSets the threshold. Sounds that are louder than the threshold are reduced in gain.
Sounds below the threshold remain unchanged.
Ratio
Sets the amount of gain reduction for sounds that are louder than the threshold. The
higher the ratio, the more the output is lowered. For example, if the ratio is set to 2:1
and the amplitude of the sound is 4 dB above the threshold, the output is lowered by
2 dB. If the amplitude is 8 dB above the threshold, the output is lowered by 4 dB.
Make-Up
Raises the overall level of the sound. This can become necessary if too much gain
reduction is introduced by the Threshold and Ratio parameters. You can see theamount of gain reduction in the Gain Reduction (GR) meter.
AttackDetermines how fast the effect reacts to sounds that exceed the threshold. The longer
the Attack time, the longer it takes to reduce the gain. With longer Attack times, theonset of sounds exceeding the threshold passes through unprocessed.
ReleaseDetermines how fast the Compressor effect reacts to sounds that fall below thethreshold. The longer the Release time, the longer it takes to return to the originallevel.

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Effects Reference
Dynamics Effects
Mix
Sets the ratio between the dry and the wet signal.
If Mix is set to 0%, only the wet effect signal is heard. If Mix is set to 100%, the output
is composed in equal parts of the effect signal and the dry sound.

Limiter

The input and output meters indicate the level before and after the Limiter. The gain reduction
meter in the middle indicates the current attenuation of the level. The peak level is shown below
each meter. To reset the peak level, click the value field.
Threshold
Determines the level where the limiter kicks in. Only signal levels above the set
threshold are processed.
Make-Up
Raises the overall level of the sound. This can become necessary if too much gain
reduction is introduced. You can see the amount of gain reduction in the gain
reduction meter.
AttackDetermines how fast the effect reacts to sounds that exceed the threshold. The longer
the Attack time, the longer it takes to reduce the gain. With longer Attack times, theonset of sounds exceeding the threshold passes through unprocessed.
ReleaseSets the time after which the gain returns to the original level when the signal drops
below the threshold.
Mix
Sets the ratio between the dry and the wet signal.
If Mix is set to 0%, only the wet effect signal is heard. If Mix is set to 100%, the output
is composed in equal parts of the effect signal and the dry sound.

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Effects ReferenceDistortion Effects

Distortion Effects
The Distortion submenu contains the distortion effects.

Distortion
Adds bright, harmonic distortion to the sound.

High-Pass Cutoff
High-pass filter with 6 dB/oct. Frequencies below the cutoff are attenuated.
Low-Pass Cutoff
Low-pass filter with 6 dB/oct. Frequencies above the cutoff are attenuated.
Hard Clip
Adds distortion to the signal.
Hard Clip Offset
Allows you to produce odd harmonics and even harmonics. The higher the setting, themore even harmonics are produced.
Input Gain
Adjusts the input level of the distortion.
Output Gain
Adjusts the output level of the distortion.
Mix
Sets the ratio between the dry and the wet signal.

Bit Crusher

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Effects Reference
Modulation Effects
Bit RedBit reduction distorts the sound by means of quantization noise. Use this control toadjust the amount of quantization noise. The lower the setting, the more quantizationnoise is added.
Rate Red
Rate reduction distorts the sound by means of aliasing. Use this control to adjust theamount of aliasing. The lower the setting, the more aliasing is added.
In Gain
Adjusts the input level of the sound.
Out Gain
Adjusts the output level of the sound.
Mix
Sets the ratio between the dry and the wet signal.

Modulation Effects
The Modulation submenu contains the modulation effects, such as Chorus, Flanger, etc.

ChorusThis effect thickens and broadens the sound by means of pitch modulation.

Sync
Allows you to set the Rate value in fractions of beats.
Rate
Allows you to specify the frequency of the pitch modulation in Hertz.
Depth
Sets the intensity of the pitch modulation.
Phase
Widens the sound image of the effect from mono to stereo.
Mix
Sets the ratio between the dry and the wet signal.

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Effects Reference
Modulation Effects

FlangerThis effect thickens and broadens the sound by means of pitch modulation.

Sync
Allows you to set the Rate value in fractions of beats.
Rate
Allows you to specify the frequency of the pitch modulation in Hertz.
Depth
Sets the intensity of the pitch modulation.
Mix
Sets the ratio between the dry and the wet signal.
Phase
Widens the sound image of the effect from mono to stereo.
Feedback
Adds resonances to the effect. This allows for jet-like sweeps of the sound.

PhaserThis effect thickens and broadens the sound by means of phase modulation.

Sync
Allows you to set the Rate value in fractions of beats.
Rate
Specifies the frequency of the phase modulation.
Depth
Sets the intensity of the phase modulation.
Feedback
Adds resonances to the effect. Higher settings produce a more pronounced effect.

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Effects Reference
Modulation Effects
Phase
Widens the sound image of the effect from mono to stereo.
Shift
Shifts the phase modulation upwards to higher frequencies of the spectrum.
Mix
Sets the ratio between the dry and the wet signal.

Ring Modulator
The Ring Modulator provides a sine oscillator that is multiplied with the input signal. This creates
metallic, or bell-like, frequencies.
The integrated LFO modulates the frequency of the sine oscillator to vary the created frequencies
over time.

LFO Waveform and Shape
Waveform selects the basic type of waveform. Shape changes the characteristics of
the waveform.
●

Sine produces smooth modulation. Shape adds additional harmonics to the
waveform.

●

Triangle is similar to Sine. Shape continuously changes the triangle waveform to a
trapezoid.

●

Saw produces a ramp cycle. Shape continuously changes the waveform from ramp
down to triangle to ramp up.

●

Pulse produces stepped modulation, where the modulation switches abruptly
between two values. Shape continuously changes the ratio between the high andlow state of the waveform. If Shape is set to 50%, a square wave is produced.

●

Ramp is similar to the Saw waveform. Shape adds a gradually increasing amountof silence before the sawtooth ramp up begins.

●

Log produces a logarithmic modulation. Shape continuously changes thelogarithmic curvature from negative to positive.

●

S & H 1 produces random stepped modulation, where each step is different. Shapeputs ramps between the steps and changes the S & H into a smooth random
signal, with the control set fully to the right.

●

S & H 2 is similar to S & H 1. The steps alternate between random high and low
values. Shape puts ramps between the steps and changes the S & H into a smooth
random signal, with the control set fully to the right.

Sine Freq
Determines the frequency of the sine oscillator.

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Effects Reference
Modulation Effects
LFO Freq
Allows you to specify the frequency of the LFO for modulating the frequency of the sine
oscillator.
LFO Depth
Sets the intensity of the LFO modulation of the sine oscillator frequency.
Mix
Sets the ratio between the dry and the wet signal.
Sync
Allows you to set the LFO Freq value in fractions of beats.

Frequency ShifterA frequency shifter shifts each frequency of the input signal by a fixed amount.

Freq Coarse
Sets the amount of frequency shift.
Freq Fine
Allows you to fine-tune the amount of frequency shift.
Feedback
Sets the amount of feedback, that is, the amount of signal that is sent from the outputof the effect back to its input. The sound is similar to that of a phaser. You can control
the direction and the speed of this effect with the Freq Fine parameter.
L/R Coarse
Sets an offset for the left and right channels.
●

Positive values shift the right channel upwards and the left channel downwards.

●

Negative values shift the left channel upwards and the right channel downwards.

L/R Fine
Allows you to fine-tune the offset between the left and right channels.
●

Positive values shift the right channel upwards and the left channel downwards.

●

Negative values shift the left channel upwards and the right channel downwards.

Mix
Sets the ratio between the dry and the wet signal.

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Effects Reference
Pan Effects

Pan Effects
The Pan submenu contains the panorama effect Stereo Pan.

Stereo Pan
This effect allows you to set the stereo position and width of the signal.

Input Swap
Swaps the stereo channels.
Pan
Sets the pan position of the signal. The panning is available for mono and stereo input
signals.
Stereo Width
Adjusts the stereo width of the signal from stereo to mono.

Time Effects
The Time submenu contains the delay and reverb effects.

Delay
This effect produces delays, with adjustable time, feedback, and filters.

Sync
Allows you to synchronize the delay time to the host tempo. If Sync is activated, thetime is set as a note value.
NOTE
The maximum delay time is 5000 ms. If the note length exceeds this value, it isautomatically shortened.

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Effects ReferenceTime Effects
Delay Time
Sets the overall time for the left and right delay. Use the Delay L/R parameter toshorten the time for the left or right delay.
Delay L/R
Offsets the time of the left or right delay from the overall delay time. At a factor of 1,
the right or left delay time has the same length as the overall delay time. At a factor of
0.5, the time is half as long as the overall delay time.
●

To offset the left delay time, turn the control to the left.

●

To offset the right delay time, turn the control to the right.

Feedback
Sets the overall amount of feedback for the left and right delay. Feedback means theoutput of the delay is fed back to its input. Set to 0%, you hear only one echo. With asetting of 100%, the echoes are continuously repeated.
Feedback L/R
Offsets the amount of feedback of the left or right delay from the overall feedback. A
factor of 1 means that the amount of feedback corresponds to the overall feedback. A
factor of 0.5 means that the amount is half the overall feedback.
●To offset the left feedback, turn the control to the left.

●

To offset the right feedback, turn the control to the right.

NOTE
This parameter is only available in Stereo mode.
Delay Mode●

Stereo has two delays in parallel, one for the left and one for the right audio
channel, each with a feedback path of its own.

●

Cross has two delay lines with cross feedback, where the delay of the left channel
is fed back into the delay of the right channel, and vice versa.

●

Ping-Pong mixes the left and right input channels and sends the mixed signal tohard-panned left and right delays. This way, the echoes bounce from left to right,
like a ping-pong ball, in the stereo panorama.

Low Freq
Attenuates the low frequencies of the delays.
High Freq
Attenuates the high frequencies of the delays.
Mix
Sets the ratio between the dry and the wet signal.

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Effects ReferenceTime Effects

ReverbThis effect produces a high-quality algorithmic reverb. It offers parameters for controlling theroom size and the reverb time. You can adjust the reverb time individually in three frequency
bands.

Predelay
Determines how much time passes before the reverb is applied. This allows you tosimulate larger rooms.
Chorusing On/Off
Activates/Deactivates the chorusing effect.
Chorusing Rate
Specifies the frequency of the pitch modulation.
Chorusing Depth
Sets the intensity of the pitch modulation.
Main Time
Controls the overall reverb time of the tail. The higher this value, the longer the reverb
tail will decay. With a setting of 100%, the reverb time is infinitely long. The Main Timeparameter also represents the mid band of the reverb tail.
Low Time
Controls the reverb time for the low frequencies of the reverb tail. Positive values resultin a longer decay for the low frequencies. Negative values result in a shorter decay.
Frequencies are affected depending on the Low Freq parameter.
Show Frequency Options

Displays the Low Freq and High Freq parameters.
Low Freq
Sets the cross-over frequency between the low and the mid band of the reverb tail. The
reverb time for frequencies below this value can be offset from the main reverb timewith the Low Time parameter.
High Freq
Sets the cross-over frequency between the mid and the high band of the reverb tail.
You can offset the reverb time for frequencies above this value from the main reverbtime with the High Time parameter.

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Effects ReferenceTime Effects
High Time
Controls the reverb time for the high frequencies of the reverb tail. With positive
values, the decay time of the high frequencies is longer. With negative values, it isshorter. Frequencies are affected depending on the High Freq parameter.
Room Size
Controls the dimensions of the simulated room. With a setting of 100%, the dimensions
correspond to a cathedral or a large concert hall. With a setting of 50%, the dimensions
correspond to a medium-sized room or studio. Settings below 50% simulate thedimensions of a small room or a booth.
ShapeControls the attack of the reverb tail. With a setting of 0%, the attack is more
immediate, which is a suitable setting for drums. The higher this value, the lessimmediate the attack.
Density
Adjusts the echo density of the reverb tail. With a setting of 100%, single reflections
from walls cannot be heard. The lower this value, the more audible the single
reflections.
Width
Adjusts the output of the reverb signal between mono and stereo. With a setting of 0%,
the output of the reverb is mono. At 100%, it is stereo.
High Cut
Attenuates the high frequencies of the reverb tail. The lower this value, the fewer thehigh frequencies in the reverb tail.
Mix
Sets the ratio between the dry and the wet signal.

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Automation
You can automate most of the Backbone parameters from within your host application, whether
these are parameters of a layer or global effect parameters.
Backbone provides 512 automation parameters that can be addressed from within the hostapplication.

Automation Editor
In the Automation editor, all assigned automation parameters are shown.

On the left, the name of the automation parameter is shown, and on the right, the name of
the assigned Backbone parameter. If several parameters are assigned to the same automation
parameter, they are listed below each other.

Setting Up Automation
You can assign Backbone parameters to automation parameters, and even assign multiple
parameters to the same automation parameter, to control these parameters at the same time.
CHOICES●To assign a parameter to an automation parameter, right-click the parameter control andselect Assign to New Automation.
The automation parameter is created on the first free automation parameter.

●

To add a parameter to an existing automation parameter, right-click the control, select Add
to Automation and select the automation parameter.

●

To remove a parameter from the automation, right-click an automated control and selectForget Automation.

●

To assign a parameter to an automation parameter automatically while working in your hostapplication, activate Automation Read/Write, start playback, and use the controls on the
Backbone interface.

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Automation
Setting Up Automation●

To remove an automation parameter, click the trash icon to the right of the parameter name.

●To remove all automation parameters, click Delete All Parameters at the top of the page.

●

To rename an automation parameter, double-click the parameter name and enter the newname.
This name is then used in your host application.

●

To replace the names for all automation parameters with the original parameter names ofthe program, click Refresh All Parameter Names on the toolbar.

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MIDI Controllers
Backbone allows you to assign almost any parameter to a MIDI controller.
You can only assign one parameter at a time. Therefore, if you want to use the same MIDI
controller for several layers, for example, you must assign it several times. You can set the range
for each assignment separately.

MIDI Controller Editor
In the MIDI Controller editor, all assigned MIDI controllers are shown.

ToolbarReset MIDI Controller Assignment to Factory Default
Restores the factory MIDI controller assignments.
Save MIDI Controller Assignment as Default
Saves the current MIDI controller assignments as default.
Delete All Controller Assignments
Removes all MIDI controller assignments.
Select Preset
Allows you to select a preset.
Save Preset
Saves the current MIDI controller assignments as preset.
Delete Preset
Opens a panel where you can delete presets.

MIDI Controller Assignments List
On the left, the name of the MIDI controller is shown, and on the right, the name of the assigned
Backbone parameter. If several parameters are assigned to the same MIDI controller, they arelisted below each other.

MIDI Controller Number
The MIDI controller number on the left allows you to change the MIDI controller for
an assignment. Click the MIDI controller number to open a pop-up menu and selectanother controller.
Delete Assignment
Removes the corresponding MIDI controller assignment.

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MIDI Controllers
Assigning MIDI Controllers

Assigning MIDI Controllers
PROCEDURE
1.

Right-click the control that you want to control remotely, and select Learn CC.

2.

On your MIDI keyboard or controller, use the potentiometer, fader, or button.
The next time you right-click the control, the menu shows the assigned MIDI controller.
NOTE
You can assign the same MIDI controller to different parameters several times. However, you
cannot assign different MIDI controllers to the same parameter.

Unassigning MIDI Controllers
PROCEDURE●

To remove a MIDI controller assignment, right-click the control, and select Forget CC.

Setting the Parameter Range
You can set the minimum and maximum values of the parameter for each assignment
separately. This gives you more control over the parameter, for example, when you are
performing live on stage.
PROCEDURE
1.

Set the parameter to the minimum value.

2.

Right-click the control, and select Set Minimum from the context menu.

3.

Set the parameter to the maximum value.

4.

Right-click the control, and select Set Maximum.

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IndexA

Envelopes 53
Adjusting the length 57
Editing 56
Parameters 53
Selecting nodes 55
Synchronizing to host 56
EQ/Filter effects 87
Export controls 12
Export settings 13

Amp envelope 53
Amp page 51
Amplifier 51
Archiving
Programs and samples 76
Attributes
Adding 66, 71, 77
Editing when saving or exporting programs 77
Automation 101
Editor 101
Setting up 101

F
Filter envelope 53
Filter page 49

D

I

Decompose
Function 17
Section 17
Settings 19
Decomposing samples 19
Distortion effects 92
DrumGAN
Section 23
Dynamics effects 90

Input section 11

K
Key commands 16

L
Layers 8
Loading 8
Reordering 28
Layers section 27
Load panel 59
Browser tab 69
Browsing for files 63
Editing attributes 67
Layers tab 60
Programs tab 60

E
Edit view 32
Effects 81
Bit Crusher 92
Bypassing 86
Chorus 93
Compressor 90
Delay 97
Distortion 92
DJ EQ 88
Editors 85
Equalizer 87
Filter 89
Flanger 94
Frequency Shifter 96
Graphic EQ 88
Limiter 91
Loading 85
Phaser 94
Removing 86
Reverb 99
Ring Modulator 95
Routing 82
Routing section 81
Stereo Pan 97
Effects section 81

M
Main tab 28
MIDI Controllers
Assigning 104
Editor 103
Parameter range 104
Unassigning 104
Modulation
Resynth page 45
Sample page 40
Modulation effects 93

N
Noise Samples
Showing in the Results List 72

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IndexO
Options page 14
Output section 12
Overview 32

P
Pan effects 97
Pitch
Envelope 53
Modulation 48
Page 48
Tuning 48
Prelisten
Section in Browser 73
Section on Layers tab 68
Prelistening
Layers 68, 73
Samples 73
Programs 8
Batch exporting 78, 79
Exporting 74, 76
Loading 8
Saving 74, 75

R
Resynth page 41
Filter 46
Parameters 42
Waveform display 44
Resynthesizer 41

SSample page 33
Parameters 33
Toolbar 35
Waveform display 37
Samples 8
Decomposing 19
Exporting 58
Loading 9Tuning 40
Saving
Program with samples 76

TTime effects 97
Tonal Samples
Showing in the Results List 72
Tuning samples 40

Z
Zoom snapshots 55
Zooming 55

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