erence for drive effect types and its original models.Modeling Description ?c RefMESA/BOOGIE Mark IIIEFFECT TYPE : BC CRUNCH bCbCFender Tweed Deluxe '53EFFECT TYPE : US BLUES bLbLMarshall JCM800EFFECT TYPE : MS CRUNCH MCMCMarshall Guv'norEFFECT TYPE : GUV'NOR GVGVThe origin of the MESA/BOOGIE amplifier was the modified Fender Princeton. Randall Smith, an amp tech in San Francisco, souped up those small guitar amps to put out 100w power and sold them. The first model was called “Mark I”. Carlos Santana tried one and said, “Shit man, that little thing really Boogies! “ -which gave the amplifier the brand name “BOOGIE.”The second model “Mark II” had lead and rhythm channels and a 4-band equalizer to give wider variety to the guitar tone. The special feature of this model was an accomplished simul- power circuitry (the operation could be switched between class A and class AB). The power amplifier section had six power tubes. When the class A operation is selected, two EL34 power tubes are activated and the amp puts out a really smooth sound. When the class AB operation is selected, these two EL34s and other four 6L6GC power tubes are all activated and the amplifier puts out its full potential power.Until the model Mark II, MESA/BOOGIE amps were quite expensive, hand-made amplifiers, but the next model “Mark III” was more affordable. It has one 10” loudspeaker and 60w output power but retains all of the classic BOOGIE features; simul-power circuitry, the graphic EQ, and three (Rhythm1, Rhythm2 and Lead) separate channels. With this Zoom G series, you can select the modeling of the combo type of this “Mark III.”The very first Fender amplifier was developed by Leo Fender and his trusty partner, the engineer Doc Kaufman in 1945-46. Actually, the earliest models were not made under the “Fender” brand but the “K&F Manufacturing Corporation” named after the Initials of the two. The first amplifier using the “Fender” brand was the “Model 26” in 1947. In 1949, the entry models called “Champion 400/600” series followed. The so-called “Tweed Amps” covered literally with tweeds all over were developed during the 1950s and the 1960s. In these years, the company put out various tweed models like the “Bassman” or the “Bandmaster”. The program of this G series is modeled after, among others, the most representative “Tweed Deluxe” aka the “Wide Panel” from 1953. This amplifier has a 12AY7 and a 2AX7 pre-tubes, two 6V6GT power-tubes, a 5Y3GT rectifier tube and a 12” Jensen loudspeaker and its output power is 10w. Recently the original amplifier is priced quite highly and is very difficult to find in good condition. This amp has two inputs but one is the input for a microphone. It has just one tone knob for treble control. Therefore, it is advisable to use this program on the G series with a flat tone setting except for the treble parameter so that you can enjoy the characteristic sound in the lower registers and the unique sound in the higher registers of the original Fender amp.EFFECT TYPE : FD CLEANMarshall has continued to produce great amplifiers for up-to-date musical trends in cooperation with the musicians. This brand started with its “JTM- 45 (stands for Jim&Terry Marshall)” in 1962 and now its products are indispensable items in the modern Rock scene. Marshall seems to have been experimenting with different circuit designs of amplifiers but 1981 was the most prolific year for the brand because it released many new models like the “1959” and “1987” with four inputs, “2203” and “2204” with master volumes. In 1983, Marshall added the “2210” and “2205” with two (Normal and Boost) channels as well as effect send/return connectors to its lineup. These models also carried the collective designation “JCM (stands for Jim&Charles Marshall) 800”. They had three ECC83 pre-tubes and four EL34 power-tubes. The tone control circuit was placed after the pre-amp section and this design seems to have become the standard for the modern Marshall amplifiers.For the modeling on this G series, we selected the “2203” with a master volume and it is quite easy to get the distortion. By today’s standards, the amplifier’s distortion is rather moderate, but the sound is very fat, the low-end is quite tight and, above all, the sound cuts through very well. When higher gain is required, this amplifier is often combined with overdrive or booster pedals. For the modeling, we used the head with a “1960A” cabinet that has four 12” loudspeakers and works very well with the “2203”.The initial sales talk for this serious distortion pedal “Guv’nor” bearing the Marshall brand was that you could get the distortion sound of the Marshall amps with this small stomp box. Depending on which guitar amps you combine, you can actually get the Marshall amps distortion. There are two different versions of the Guv’nor: the Britain-made ones from 1988 and the Korean-made ones from 1998. The program on this G series is modeled after the original version from 1988. The Guv’nor’s characteristic feature is the frequency point you can tweak using the “TREBLE” control. Even if you lower this parameter value, the sound will get fat instead of getting dullish. As you raise the value, the sound will get sweeter and clearer.MESA/BOOGIE Dual RectifierEFFECT TYPE : BG DRIVE BGbGFender Twin Reverb '65FCFCBOSS OD-1EFFECT TYPE : OVERDRIVE odOdMATCHLESS HOT BOXEFFECT TYPE : HOT BOX HbHbThe “Rectifier” model has the improved simul-power circuitry (see the “Mark III” section) and the increased gain in the preamp section. This amp puts out 100w power and has five 12AX7 tubes for the pre-amp and four 6L6GC tubes for the power-amp. As opposed to the “Mark” series, the Rectifier has its tone control circuit after the volume circuit for better effect on the sound. Since this amp had been introduced, the brand image of MESA/BOOGIE has changed from being the premiere amp manufacturer for fusion music to that for heavy metal music.The most prominent feature of this amp is its rectifier circuitry after which it was named. The “Dual Rectifier” employs, as its name suggests, two different rectifier circuits: one uses silicon diodes and another uses tubes. When the diodes are selected, the amp gives you tight and highly powerful sound. When the tube rectifier circuit is selected, you will get a warmer sound. This program is modeled after the combination of a four-12” BOOGIE cabinet and the Dual Rectifier head using the vintage channel and the silicon-diode rectifier circuit.In the later half of 1965, a reverb unit was added to the “Twin” amp, which was the birth of the “Twin Reverb” model. In 1965, Fender company was sold to CBS because of Leo Fender’s health problem. The program on this G series is modeled after the pre-CBS “Twin Reverb” from 1965 aka “Black Panel”. This amp has four 7025 (12AX7), a 12AX7 and two 12AT7 pre-tubes, four 6L6GC power-tubes and silicon diodes for the rectifier circuit. The diode rectifier is believed to give a tighter sound to the amplifier than the tube rectifier does, which should be the key to the characteristic glittering sound of this “Twin Reverb”. This guitar amplifier has two 12” loudspeakers by Jensen and pus out 80w power. On the program in this G series, you can have the sound with the “Bright” switch on by tweaking the “Harmonics” parameter in the “EXTRA EQ” section. When you turn the reverb effect on, you will get that “Twin Reverb” sound you have been longing for.The “OD-1” released by BOSS in 1977 was originally developed for the simulation of the natural overdrive sound of tube amplifiers, but this stomp box turned out to be popular as the booster unit to connect to the input of the real tube amplifier to get tighter and more punchy sound with the increased gain. The “OD-1” employs the asymmetrical “clipper” section in its circuit design that uses three diodes to create the overdrive sound that is mild and rich in nuances. The pedal had been in production from 1977 to 1985, but now it is unexpectedly difficult to even find a used one. And if you could locate one, it would be astonishingly expensive. There have been many stomp boxes known as overdrive units. The most famous one is probably the “Tube Screamer” but we chose this very original overdrive pedal “OD-1”. If you are lucky enough to use the real “OD-1”, we invite you to try blind test to turn off all of the effect module except the “OD-1” on the G series and compare the sound of the modeling and that of the real one. We think that you will not hear any difference.The “HOT BOX” was released as a pedal preamp bearing the MATCHLESS brand. It uses two 12AX7A tubes for the truthful reproduction of the sound of the “MATCHLESS” guitar amplifiers. It has the compressed sound and the quick response, which are distinctive characteristics of tube amps. Its sound is fat and cuts through very well, too. Even if you crank up the gain to get a distorted sound, you will retain the nuances of the original guitar sound. Although it is categorized as preamp, the ideal way to get the best possible sound is to connect it, like usual stomp boxes, to the input of your guitar amp. Its design is also attractive: the case is polished like a mirror and the “MATCHLESS” logo lights up when you turn it on. This “Hot Box” is literally a magic box: you can get the signature sound of the “MATCHLESS” amps regardless of the guitar amplifier you connect it to.Roland JAZZ CHORUSEFFECT TYPE : JC CREAN JCJCPEAVEY 5150 STACKEFFECT TYPE : PV DRIVE PvPvBOSS MT-2EFFECT TYPE : METAL ZONE MTMtZOOM Extreme DistortionEFFECT TYPE : EXTREME DISTORTIONEdEdSimply put, the Roland “JC-120” is the most familiar guitar amplifier among both professionals and amateurs. Released in 1975 from Roland, this amp became known as “portable”, “loud” and “almost trouble-free” (which are the very characteristics Japanese products are known for!). You are pretty sure to find one in any live houses or studios all over the world. The key to that sound of “JC-120” is its unique chorus effect: the slightly delayed vibrato sound comes from one of two 12” loudspeakers and the dry sound from another and both sounds are combined in the air, which creates that distinctive spacey mood. This effect became very popular which is why Roland decided to release the chorus circuit independently as the “CE-1” pedal. Incidentally, the chorus effect on the G series is modeled after its follower “CE-2”. Another unique feature of JC-120 is its “Bright” switch. This function is not included in this modeling program but you can approximate the effect of this switch by tweaking the “Harmonics” parameter in the “Extra EQ” section.The “5150” and the “5150 MkII” were very famous guitar amplifiers originally developed as the signature models for Eddie Van Halen. Unfortunately, he doesn’t use it anymore because of the expiration of the endorsement contract. The program on this G series is modeled after the first version of the “5150”. This amplifier has two (Rhythm and Lead) channels and puts out 120w power using five 12AX7 pre-tubes and four 6L6GC power-tubes. The rectifier circuit employs silicon diodes. The uniqueness of the sound of this amplifier is characterized by its sharp attack, deep and smooth tone, fine distortion and fat and clinging low registers. The program is modeled after the combination of the Lead channel of the 5150 head and a “5150SL”, a four-12” cabinet. Just crank up the gain and play one of Van Halen’s hit “Top Of The World”!The “MT-2” (“METAL ZONE”) has the strongest distortion. Its unique distortion sound has very fat mid to low range and it has a parametric EQ in addition to the Hi and Low EQs, which is the key to the scooped metal sound. This stomp box is reputed for its flexibility in sound because you can not only get that scooped metal sound by cutting the mid range and boosting the high and low range but also the overdrive sound by reducing the gain and boosting the mid range. This is one of the best-selling stomp boxes among many of the popular line-ups of BOSS products. Once connected, the Strat or the Les Paul will have the “MT-2” sound regardless of the types of guitar pickups. It was first introduced in 1991 and is still in the BOSS’s catalog; a truly a long-seller!This distortion program is developed especially for the G series. We deliberately made use of the characteristics of digital devices and even emphasized the edge of the digital sound to get the distortion to the maximum. The “TM-01” (Tri Metal) was the pedal that had the deepest distortion sound among the stomp boxes from ZOOM but was discontinued. It had as much as three diode-clipping stages and had very high gain. The “Extreme Distortion” is programmed to get the gain even higher. It raises the signal level to the maximum at the input stage and gets the wild distortion sound at the clipping stage. In fact, you won’t change the distortion rate even if you lower the volume on your guitar! Its distortion is that deep. Contrary to the usual distortion effects whose sound gets thinner as you raise the gain, this “Extreme Distortion” won’t lose the fatness and tightness of the sound.VOX AC30/6TBEFFECT TYPE : CLASS A CLEAN CACAMarshall JCM2000EFFECT TYPE : MS DRIVE MDMdDallas-Arbiter FUZZ FACEEFFECT TYPE : FUZZ FACE FFFFZOOM Digital FuzzEFFECT TYPE : DIGI FUZZDFdFThe long history of the VOX company harks back to the foundation of “Jennings Musical Instruments” (JMI) in 1958. Originally, this company made amplifiers with 10-15w output power but the musical trend required more powerful amplification, which resulted in the birth of the revered “AC30” guitar amp. The very original AC30 had two Celestion 12” loudspeakers using alnico magnets, EF86 pre-tubes, EL84 power-tubes and a GZ34 rectifier tube. The Shadows and the Beatles used this model and their influence helped this amp become popular among many guitarists. Later, as the musical trend required amplifiers with even more gain, the company developed an add-on device called “Top Boost Unit”. The “AC30-6TB”, which this program in our G series is modeled after, is the later version of the AC30 with an integrated “Top Boost Unit”. After the JMI had sold the VOX brand, the sales of the amplifier regrettably began to decline. However, the KORG Inc. acquired the VOX name recently and rejuvenated the brand by starting to manufacture truthful reissue models. In this G series, the program is modeled after the sound using the Hi input of the normal channel that will give you that clean guitar sound of the Beatles and the Shadows, which are the best examples of the distortion-free sound of the class-A operated amplifiers.“JCM2000” is based on the reputed “Plexi” amp (aka Old Marshall) whose rich overtones and powerful sound were legendary. It has very flexible sound and can produce the traditional Marshall sound, modern heavy metal sound or sounds suitable for any musical genre. It has the modern Marshall’s standard circuit with four ECC83 pre-tubes and four EL34 power-tubes. It is an all-tube amplifier that can produce clean or heavily distorted sound and you can use it in all kinds of music. The sound is rather grainy but the response is fast and the guitar sound cuts through very well. “JCM2000” series has two different models: the TSL and the DSL. The program on the G series is modeled after the simply designed “DSL-100”. As with the modeling of the “JCM800”, we combined the head with a “1960A” cabinet and used the Lead channel that has more distortion.“FUZZ FACE” was originally released from the Dallas-Arbiter company in 1966 encased in a uniquely designed housing that literally looked like a face. It is also famous as legendary guitarist Jimi Hendrix’s favorite gear. He combined this “FUZZ FACE” with his Marshall amps because it was hard to get distorted sound from them at that time, and created avant-garde tones. The heavy and fat low end and the fuzz sound with long sustain are the characteristics of this effective device. The earliest model used two PNP germanium transistors and was very different in sound from the later models using silicon transistors. The theory of creating distorted sound is simple. Have you tried to connect the guitar to a microphone input on your radio cassette recorder to emulate that sound? You cannot go too wrong if you think that the circuitry of this device is similar to that. The program on this G series is modeled after this earliest version most satisfactorily.Forty years ago, my fellow guitar player used to crank up his amp trying to distort his guitar sound and make other guys of the band virtually deaf at the end of the rehearsal. When it was difficult to get the distorted sound out of the amplifiers like in those days, some guys made cuts in the cone loudspeakers to make the sound distorted, which was the origin of the sound of fuzz effects. The fuzz pedals were developed to reproduce that distortion-like sound. In other words, the trick of fuzz effect is to simulate the dirty distortion and that “broken” feel. This “Digital Fuzz” has the very effect described above. Its drastic distortion, relentless cut-offs and noises in the decay are the characteristics that one could simply describe as “broken”. Its fat and tight sound can be seriously recommended for the fuzz maniacs to try. This is literally the Digital Dirty Fuzz that is only possible in the digital domain (are you brave enough to make cuts in your loudspeakers?).Such as product names and company names are all (registered) brand names or trade marks of each respective holders, and Zoom Corporation is not associated or affiliated with them All product names, explanation and images are used for only purpose of identifying the specific products that were referenced during product development
USB/Cubase LE 操作指南操作指南将解释如何安装Ｃｕｂａｓｅ ＬＥ到您的电脑，如何连接与设置，如何使用Ｃｕｂａｓｅ ＬＥ进行录音工作
Ｃｕｂａｓｅ ＬＥ安装连接与属性使用Ｃｕｂａｓｅ ＬＥ进行录音Windows XP根据步骤，在运行ＷＩＮ ＸＰ的电脑中 安装Ｃｕｂａｓｅ ＬＥ并开启音频输入输出端口开启Ｃｕｂａｓｅ ＬＥ 安装Ｃｕｂａｓｅ ＬＥ到您的电脑窗口会显示是否检查音频输入／输出端口 选择ＯＫ进行检查将安装关盘放入光驱中Ｃｕｂａｓｅ ＬＥ启动完毕安装程序将自动进行选择Ｄｅｖｉｃｅ Ｓｅｔｕｐ，然后在列表中点击激活Ｄｅｖｉｃｅｓ菜单 安装屏幕显示的步骤进行安装ＶＳＴ Ｍｕｌｔｉｔｒａｃｋ 使用ＵＳＢ连接线连接电脑和效果器 电源适配器吉他输入插口电脑or G2.1uＵＳＢ连接线输出插口电池音频系统，或ＡＳＩＯ ｄｒｉｖｅｒ是否选择为检查Ｄｅｖｉｃｅ Ｓｅｔｕｐ窗口右边部分中的ｈｉ－ｆｉ回放设备 ＡＳＩＯ Ｍｕｌｔｉｍｅｄｉａ ＤｒｉｖｅｒWhen the [POWER] switch of the G2.1u is ON, the unit will be点击Ｄｅｖｉｃｅ ｓｅｔｕｐ中的控制面板键powered from the AC adapter or internal batteries. 在弹出的窗口中，点击Ａｄｖａｎｃｅ Ｏｐｔｉｏｎｓ键When the [POWER] switch of the G2.1u is OFF, the unit will bepowered via the USB cable (bus power). This is convenient when no在窗口中，检查ＵＳＢ Ａｕｄｉｏ ＣＯＤＥＣ是否在AC adapter or batteries are available or when the batteries areｉｎｐｕｔ ｐｏｒｔ和ｏｕｔｐｕｔ ｐｏｒｔ中被选择exhausted. NOTE ?If you monitor the audio signal during recording via the audio output of the computer, there will be an audible latency. Be sure to use the [OUTPUT] jack of the G2.1u to monitor the signal.?When the G2.1u is powered via the USB cable, insufficient power may result in unstable operation, causing an error indication to appear on the display. In such a case, power the G2.1u from an AC adapter or batteries. ?Use a high-quality USB cable and keep the connection as short as possible. If power is supplied to the G2.1u via a USB cable that is 如果没有被选择，请在选择方块中点击一下more than 3 meters in length, the low voltage warning indication 然后点击ＯＫ退出，窗口回到上一个界面may appear. When you connect the G2.1u for the first time to a computer runningWindows XP, a message saying \Before proceeding, wait a while until this message disappears. 点击“开始”菜单，选择“控制面板” 双击声音和音频设备ＵＳＢ Ａｕｄｉｏ ＣＯＤＥＣ是否被窗口即弹出，点击音频书签，检查一下选择为默认的音频和录音回放设备 激活Ｄｅｖｉｃｅｓ菜单，选择ＶＳＴ Ｉｎｐｕｔｓ是否是Ａｃｔｉｖｅ状态ＶＳＴ Ｉｎｐｕｔｓ窗口弹出，检查ｉｎｐｕｔ ｐｏｒｔ Active button 如果Ａｃｔｉｖｅ按钮是ＯＦＦ状态，（灰色）点击使其开启 如果其他的设备被选择，打开“默认设备”下拉菜单，选择ＵＳＢ Ａｕｄｉｏ ＣＯＤＥＣ 完成以后点击确定关闭窗口Continued overleaf Cubase LE InstallationConnections and PreparationsRecording with Cubase LEＣｕｂａｓｅ ＬＥ安装连接与属性使用Ｃｕｂａｓｅ ＬＥ进行录音MacOS X根据步骤，在运行ＷＩＮ ＸＰ的电脑中 安装Ｃｕｂａｓｅ ＬＥ并开启音频输入输出端口 把安装光盘放入ＭＡＣ电脑的光驱中 Ｃｕｂａｓｅ ＬＥ图标会显示在桌面中双击图标打开它，使用圆圈显示的安装程序进行安装如果没有被选择，点击下拉菜单，选择它完成以后点击ＯＫ关闭窗口Check whether \ the right part of the device setup window. 打开Ｃｕｂａｓｅ ＬＥ HINT 将ＭＡＣ电脑和效果器进行连接Ｃｕｂａｅ ＬＥ程序被安装在Ａｐｐｌｉｃａｔｉｏｎｓ文件夹Ｃｕｂａｓｅ ＬＥ启动完毕 选择Ｄｅｖｉｃｅ Ｓｅｔｕｐ，然后在列表中点击激活Ｄｅｖｉｃｅｓ菜单电源适配器吉他输入插口ＭＡＣ电脑be 检查ｄｅｖｉｃｅ ｓｅｔｕｐ窗口右边部分的ＶＳＴ Ｍｕｌｔｉｔｒａｃｋor ＡＳＩＯ ｄｒｉｖｅｒ是否选择为G2.1uＵＳＢ连接线 ＵＳＢ Ａｕｄｉｏ ＣＯＤＥＣ ２输出插口NOTE ?电池音频系统，或ｈｉ－ｆｉ回放设备When the [POWER] switch of the G2.1u is ON, the unit will be powered from the AC adapter or internal batteries. When the [POWER] switch of the G2.1u is OFF, the unit willno AC adapter or batteries are available or when the batteries arepowered via the USB cable (bus power). This is convenient when如果其他的内容被选择，使用下拉菜单改变其选择If you monitor the audio signal during recording via the audio output 设置完毕，点击ＯＫ关闭窗口of the computer, there will be an audible latency. Be sure to use the [OUTPUT] jack of the G2.1u to monitor the signal.激活Ｄｅｖｉｃｅｓ菜单，选择ＶＳＴ Ｉｎｐｕｔｓ ?When the G2.1u is powered via the USB cable, insufficient power may result in unstable operation, causing an error indication to appear on the display. In such a case, power the G2.1u from an AC ｉｎｐｕｔ ｐｏｒｔ是否为ＡＣＴＩＶＥＶＳＴ ｉｎｐｕｔｓ 窗口弹出，检查adapter or batteries. ?Use a high-quality USB cable and keep the connection as short as possible. If power is supplied to the G2.1u via a USB cable that is more than 3 meters in length, the low voltage warning indication may appear. Active button文件夹，然后双击Ａｕｄｉｏ ＭＩＤＩ Ｓｅｔｕｐ打开Ａｐｐｌｉｃａｔｉｏｎ文件夹，然后打开Ｕｔｌｉｔｉｅｓ如果Ａｃｔｉｖｅ按钮为关闭（灰色）点击使其开启窗口弹出，点击Ａｕｄｉｏ Ｄｅｖｉｃｅｓ然后检查 ＵＳＢ Ａｄｕｉｏ ＣＯＤＥＣ是否被选择为默认的输入输出Continued overleaf
Continued from front Cubase LE InstallationConnections and Preparations使用Ｃｕｂａｓｅ ＬＥ录音Windows XPMacOS X要开始录音，点击录音键点击Ｆｉｌｅ菜单选择Ｎｅｗ ＰｒｏｊｅｃｔＮｅｗ Ｐｒｏｊｅｃｔ窗口弹出，这里您可以选择一个任务模板 按以下步骤设置新的音轨1.拖动边缘的来显示所有的按钮2.点击这里选择ＵＳＢ Ａｕｄｉｏ ＣＯＤＥＣMixer window 1.要修改回放录音的等级，点击此键当您弹奏吉他的时候，任务窗口会显示实时的波形 录音键2.检查此键是关闭的（灰色）如果此键为开启的，点一下使其关闭要停止录音，点击停止按钮 3.点击立体声／单声道键使它成为立体声确认Ｅｍｐｔｙ模板被选择，然后点击ＯＫ键 任务存储窗口会弹出4.点击这里设定音频输出端口的主通道检查录音的内容存储位置选择完毕（例如桌面）以后，按ＯＫ键ＭａｃＯＳ １０．４为ＣＨＯＯＳＥ键新任务创建以后，任务窗口会显示基本常用的控制按纽点击Ｄｅｖｉｃｅｓ菜单，选择ＶＳＴ Ｉｎｐｕｔｓ窗口弹出，此窗口显示可使用的输入端口和状态音轨的指派的通道 主通道1.3.2.确认此键是开启的（不是灰色），如果是灰色的，点一下让它开启确认录音等待键是红色的如果是灰色的，点击使其开启把主通道上的音量控制器完全拉下升起音量控制器得到满意的得到最为适合的音量4. 任务窗口 弹奏吉他，调节效果器上的输出等级直到调整到Ｃｕｂａｓｅ ＬＥ合适的录音等级VST input window Go to beginning of project Play button 2.点此键转到最初的状态3.点播放键，开始播放回放要建立一个新的音轨，点击Ｐｒｏｊｅｃｔ菜单选择Ａｄｄ ｔｒａｃｋ，在弹出的下级菜单 选择Ａｕｄｉｏ一个新的音轨即增加到任务窗口中1. 拖动这里让窗口变大主等级HINT If no sound is heard when you click the Play button after recording, check the settings in the VST input window (step 13) and the master channel output port setting (step 15) once more. 用吉他连接线将吉他和效果器连接选择一个想得到的音色For optimum enjoyment 点击Ｄｅｖｉｃｅｓ菜单，选择Ｍｉｘｅｒ窗口弹出，窗口显示指派的音轨NOTE ?The level meter shows the signal level after internal processing by Cubase LE. Therefore a slight time lag may occur between playing a guitar string and the meter registering the change in level. This is normal and not a defect. ?The audio tracks of Cubase LE will be recorded with correct timing exactly matched to your guitar play. There will be no lag between already recorded tracks and newly added tracks. 在使用Ｃｕｂａｓｅ ＬＥ的时候，如果发现运转速度变慢或者其他问题请试试以下工作(1) 关闭其他正在使用的软件(2) HINT You can add several tracks at once by accessing the \selecting \ 使用Ｃｕｂａｓｅ ＬＥ时减少外接（效果器，乐器）当外接的过多，电脑处理会变慢(3) 检查传输面板是否显示使用效果器原配的电源适配器Transport panel 如果面板没有显示，打开Ｔｒａｎｓｐｏｒｔ菜单，选择Ｔｒａｎｓｐｏｒｔ Ｐａｎｅｌ