Groove Agent SE 5 Groove Agent SE en

Groove Agent SE
The Steinberg Documentation Team: Cristina Bachmann, Heiko Bischoff, Lillie Harris, Christina Kaboth, Insa
Mingers, Matthias Obrecht, Sabine Pfeifer, Benjamin Schütte, Marita Sladek
Translation: Ability InterBusiness Solutions (AIBS), Moon Chen, Jérémie Dal Santo, Rosa Freitag, Josep Llodra
Grimalt, Vadim Kupriianov, Filippo Manfredi, 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 the
complexity 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 product
described 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, 2021.
All rights reserved.
Groove Agent SE_5.0.30_en-US_2020_09
Table of Contents
4 Introduction 112 Distortion Effects

4 Conventions 114 Modulation Effects
5 How You Can Reach Us 121 Dynamics Effects
5 About the Documentation 129 Spatial and Panner Effects
6 Common Editing Methods 130 Automation and MIDI Controllers

6 Dials and Sliders 130 Automation
6 Multi Selection and Parameter Controls 131 MIDI Controllers
6 Buttons 133 Global Functions and Settings
7 Value Fields 133 Plug-in Functions Section
7 Using Key Commands 134 Plug-in Name and Steinberg Logo
8 Presets 134 Toolbar
10 Getting Started 135 Keyboard
10 Window Overview 136 Options Page
11 Agents, Kits, and Content Files 139 Mixer Routing Diagrams
12 Loading a Kit 141 Index
13 Pattern and Instrument Pads
14 Browsing for MIDI Patterns and Styles
14 Playing back Pattern Pads
15 Converting Styles to MIDI Patterns
15 Creating the Different Sections of a Drum Track
16 Recording Trigger Notes for Your Patterns
16 Dragging Patterns into a Project
17 Editing Patterns in the DAW
18 Managing Your Sounds
18 Loading Kits
18 Kit Slot
19 Kit Rack
19 Kit Context Menu
21 Managing and Loading Files
33 Working With Pads
33 Pad Section
34 Renaming Pads
34 Using Different MIDI Channels/Ports for
Instrument Pads and Pattern Pads
35 Instrument Pads
42 Pattern Pads
54 Beat Agent SE
54 Beat Agent SE Sound Editing
83 Importing and Exporting Files
86 Acoustic Agent SE
86 Acoustic Agent SE Sound Editing
95 Mixing and Effect Handling
95 Beat Agent SE Mixer
96 Acoustic Agent SE Mixer
99 AUX Mixer
100 Kits Mixer
101 Master Mixer
101 Effect Handling
103 Effects Reference
103 Reverb Effects
105 Delay Effects
106 EQ Effects
108 Filter Effects
3
Groove Agent SE 5.0.30
Introduction
Conventions
In our documentation, we use typographical and markup elements to structure information.
Typographical Elements
The following typographical elements mark the following purposes.
Prerequisite
Requires you to complete an action or to fulfill a condition before starting a procedure.
Procedure
Lists the steps that you must take to achieve a specific result.
Important
Informs you about issues that might affect the system, the connected hardware, or
that might bring a risk of data loss.
Note
Informs you about issues that you should consider.
Tip
Adds further information or useful suggestions.
Example
Provides you with an example.
Result
Shows the result of the procedure.
After Completing This Task

Informs you about actions or tasks that you can perform after completing the
procedure.
Related Links
Lists related topics that you can find in this documentation.
Markup
Bold text indicates the name of a menu, option, function, dialog, window, etc.
EXAMPLE
In the header of the plug-in panel, click the Preset Management button next to the preset name
field and select Load Preset.
If bold text is separated by a greater-than symbol, this indicates a sequence of different menus
to open.
4
Introduction
How You Can Reach Us
Key Commands
Many of the default key commands, also known as keyboard shortcuts, use modifier keys, some
of which are different depending on the operating system.
When key commands with modifier keys are described in this manual, they are indicated with the
Windows modifier key 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 You Can Reach Us

Click the Steinberg logo in the top right corner of the control panel to open a pop-up menu
containing items for getting additional information and help.
● This menu contains links to various Steinberg web pages. Select a link to open the
corresponding 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
steinberg.help.
● To visit steinberg.help, enter steinberg.help in the address bar of your web browser or open
Groove Agent SE, click the Steinberg logo in the top right corner and select Groove Agent SE
Help.
5
Common Editing Methods
Dials and Sliders

Dials and sliders can be unidirectional or bidirectional. Unidirectional values, for example, level
values, start at a minimum value and go up to the maximum. Bidirectional controls start from the
middle position and go to the left for negative and to the right for positive values.
Most of the editing methods are the same for dials and sliders.
● To adjust a value, click a dial or a slider and drag up and down, or use the mouse wheel.
If you press Alt/Opt when clicking a dial, a small slider appears, allowing you to set the
parameter.
● To make fine adjustments, press Shift and move the dial or use the mouse wheel.
● To restore the default value for a parameter, press Ctrl/Cmd and click on the control.
Multi Selection and Parameter Controls

To edit multiple pad parameters at the same time, select the pads that you want to edit.
If several pads are selected and they are not set to the exact same values, most of the controls
indicate this by turning red. This is true for dials, on/off buttons, combo boxes, value fields, and
text faders.
NOTE
More complex controls, such as the envelope editors, only show the values of the focused pad.
Adjusting Value Ranges

You can adjust the value range of a parameter using the corona of the encoder. The values for
the pads are distributed within the new range, keeping their relative distances.
● To compress or expand the value range, drag the corona.

● To adjust the upper limit of the range, hold down Ctrl/Cmd and drag the corona.
● To adjust the lower limit of the range, hold down Alt/Opt and drag the corona.
Buttons
Groove Agent SE contains two different types of buttons: On/Off buttons and push buttons.
On/Off Buttons
These buttons have two states: on and off. If you move the mouse over an On/Off button, it
changes its appearance to show that you can click it.
Push Buttons
Push buttons trigger an action and then go back to their inactive state. These buttons open
menus or file dialogs.
6
Value Fields
Value Fields
You can enter or edit values in the available value fields using your keyboard or mouse. To enter
key ranges or the root key, for example, you can use an external MIDI keyboard.
To set a value, you have the following possibilities:
● Double-click in a value field, enter a new value, and press Return .

If the entered value exceeds the parameter range, it is automatically set to the maximum or
the minimum value, respectively.
● Click in the value field and drag up or down.
● Position the mouse over a value field and use the mouse wheel.
● Click the up/down triangles next to the field.
● To set the parameter to its default value, Ctrl/Cmd -click the value field.
● To use a fader to adjust the value, Alt/Opt -click a value field.
● To enter musical values, such as key ranges or the root key, with your MIDI keyboard,
double-click the value field, press a key on your MIDI keyboard, and press Return .
● To navigate to the next parameter, press Tab . To jump backwards to the previous
parameter, press Shift - Tab .
If no parameter is selected inside the focused view, pressing Tab always jumps to the first
parameter.
Using Key Commands
● 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 any currently assigned key
commands.
● To set up a key command, select the function in the list, enter the key command in the Type
in Key field and click the Assign button to the right of the field. If this key command is
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.
7
Presets
● To search for a specific function, enter its name in the search field at the top of the dialog
and click the Start/Continue Search button.
NOTE
You can set up several key commands for the same function.
Presets
Groove Agent SE offers two types of presets: section/module presets and VST presets. Section
and module presets store and recall the setup of a specific component on the Groove Agent SE
panel. VST presets contain all information necessary to restore the complete state of the plug-in.
During setup, the factory presets are installed in a dedicated folder and a user folder is created
for your own presets. The handling of presets is the same throughout the program.
NOTE
Factory presets are write-protected, but may be overwritten when a software update is executed.
Presets in your user folder are never changed by the software update.
Handling Section and Module Presets

The preset controls can be found throughout the program. The handling is always the same.
● To save a preset, click Save .
NOTE
You cannot overwrite factory presets. If you want to save changes made to a factory preset,
save the preset under a new name or in a new location.
● To load a preset, click the arrow icon and select a preset from the list.
● To delete a preset, click Delete .
NOTE
Factory presets cannot be deleted.
Handling VST Presets
Loading VST Presets

PROCEDURE
1. In the header of the plug-in panel, click the Preset Management button next to the preset
name field and select Load Preset.
2. Do one of the following:

● Select a preset to load it.
● Double-click a preset to load it and close the preset loader.
8
Presets
Saving VST Presets

PROCEDURE
● In the header of the plug-in panel, click the Preset Management button next to the preset
name field and select Save Preset.
9
Getting Started
These sections help you to get started with Groove Agent SE and introduce program functions
and settings.
Window Overview
The Groove Agent SE window is divided into several sections.
1 At the top of the window, you can find the plug-in functions section.
2 Below the plug in-functions section on the left, the kit slot is located.
3 On the right of the kit slot, you find the kit rack.
4 The edit display on the right contains the Edit, Mixer, and Options pages.
5 With the two buttons at the top right of the edit display, you can expand the window to show
a keyboard at the bottom, and/or the Load panel at the right.
6 On the left of the edit display, you can find the pad section.
RELATED LINKS
Kit Slot on page 18
Kit Rack on page 19
10
Getting Started
Agents, Kits, and Content Files
Agents, Kits, and Content Files

Groove Agent SE comes with a variety of content that can be loaded and edited. At the top of the
hierarchy, you can load kits or VST presets. Further down the hierarchy, you can load and edit
MIDI patterns, styles, drum samples, etc.
Agents
Groove Agent SE combines the creative power of different rhythm modules: Acoustic Agent SE
and Beat Agent SE.
Each of these modules offers its own approach to drums and rhythms, with special ways of
creating your own inspiring beats in a huge range of styles.
Kits
Kits are loaded to play the sounds in Groove Agent SE. They contain all information that is
required to produce the sound of the selected drum kit, that is, about the sliced loop and the
MIDI phrase that is needed to play back the loop, about the used MIDI patterns or styles, and
about the insert effects that are used on the mixer channel.
You can save and load kits via the kit rack or the kit slot section.
Furthermore, kits contain information on the agent that the kit uses. In the Load dialog and on
the Kits tab in the Load panel, kits are identified by the kit preset icon .
VST Presets
VST presets contain all Groove Agent SE settings, that is, all information necessary to restore the
complete state of the plug-in. This includes the kit, the MIDI patterns or styles, as well as any
insert and AUX effects. All of these settings are also saved with the project in your host
application. You can load VST presets via the pop-up menu in the plug-in header.
Content Files and Folder Structure

Groove Agent SE comes with a large number of ready-to-use sound content files, containing kits,
patterns, styles, and presets. Factory kits are write-protected. You can edit those files while they
are loaded, but you cannot overwrite them.
To save your modifications to a factory kit, save the file under a new name. The file gets the file
name extension .vstpreset and is saved with your user content. User content can be searched
and categorized in the same way as factory content. User content is saved in a predefined folder
structure on your hard disk. You can create subfolders within this structure to facilitate moving
or exchanging content.
MIDI Patterns
MIDI patterns contain information on notes and drum sounds and the rhythm in which
they are played.
Styles
Styles are complex structures of multiple patterns suited to create different parts of the
drum tracks, for example, main pattern, fill, ending, and intro.
You can manage your user MIDI patterns and styles, for example by adding new subfolders to
the folder structure, by moving or removing MIDI files, etc. To access the folder where the user
11
Getting Started
Loading a Kit
MIDI patterns or styles are saved, right-click the pattern or style, either in the Load panel or the
Load dialog and select Show in Explorer/Finder. In this location, you can add, remove and
rename files and create subfolders to organize your MIDI patterns.
Groove Agent ONE Content

Groove Agent SE can load Groove Agent ONE presets. The presets can either be loaded as kits in
the kit rack or the kit slot section or as plug-in presets via the preset management menu in the
plug-in header.
To load a Groove Agent ONE preset, drag it from the MediaBay of your Steinberg DAW onto a
slot.
If you load a Groove Agent ONE preset as a plug-in preset, the global plug-in parameters are set
to the default values.
If you load a preset as a kit, the global plug-in parameters remain unchanged.
Loading a Kit
To be able to hear a sound, you need to load a kit into Groove Agent SE.
PROCEDURE
1. Select the kit slot in the kit rack.
2. Open the Load panel and select the Kits tab.
3. On the Select Content Set pop-up menu at the top of the page, select a content set.
12
Getting Started
Pattern and Instrument Pads
4. In the attribute columns, specify the sound that you want to use, by selecting a musical style,
sub style, etc.
5. In the results list, select a kit and double-click it or drag it onto the kit slot.
RELATED LINKS
Managing and Loading Files on page 21
Pattern and Instrument Pads

In Groove Agent SE, you can edit both the sounds and the patterns that are used by your drum
tracks. Instrument sounds can be accessed via the instrument pads. The pattern or style that is
played can be edited via the pattern pads.
● To switch between the instrument pads and the pattern pads, click the corresponding button
above the pads.
Instrument Pads
If the instrument pads are shown, the pads trigger the instrument samples and you
can edit the sound of the instruments. These instruments are then used by the pattern
pads to play the selected MIDI pattern or style.
Pattern Pads
If the pattern pads are shown, the pads trigger the selected MIDI pattern or style.
● MIDI patterns contain information on notes and drum sounds and the rhythm in
which they are played.
● Styles are complex structures of multiple patterns suited to create different
sections of the drum tracks, such as, fills, endings, and intros.
13
Getting Started
Browsing for MIDI Patterns and Styles
Browsing for MIDI Patterns and Styles

The Load panel allows you to browse for patterns and styles and assign them to the pattern
pads.
PREREQUISITE
Show Pattern Pads is activated on the left.
PROCEDURE
1. Depending on the file type that you want to load, select the Styles or MIDI page.
2. On the Select Content Set menu, select the content set from which you want to load a file.
To browse the entire content, select All.
3. Optional: In the upper section of the page, click on an attribute to display only those files
containing the attribute, for example, percussion, or a specific musical style, etc.
You can activate several attribute filters simultaneously.
4. 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.
5. Use the transport controls below the results list to prelisten the results.
6. Step through the files in the results list and listen to them until you found the file that you
want to use.
7. Drag the file onto a pad.
8. Repeat the above steps to assigning more files to other pads.
RELATED LINKS
Prelistening Patterns and Styles on page 25
Prelisten Section for MIDI Patterns and Styles on page 25
Playing back Pattern Pads

You can play back pattern pads using the MIDI Player or the Style Player. The MIDI player
allows you to play and modify one pattern. The style player offers a variety of patterns, suited to
create the different sections of your drum tracks.
PROCEDURE
1. Load an Acoustic Agent SE kit.
2. Open the Pattern page and click on an empty pattern pad.
If a pattern pad is empty, it also plays the instrument sound.
3. To activate the pattern pad and make it play the pattern, open the Edit page in the right
section of the plug-in panel and click Pad On/Off in the top right so that it lights up.
4. Click the Use Style button to activate the style player, and select a style from the Select Style
pop-up menu.
5. Adjust the tempo in the DAW to match the tempo of the style.
The original tempo of the style is indicated by the second number in the file name of the
style and in the value field to the right of the Select Style pop-up menu.
6. Click the Play button in the transport section to play back the style.
7. Try out different Quantize and Swing settings, move the Complexity slider, select a main
pattern, a fill, an ending, etc., and listen to the results.
14
Getting Started
Converting Styles to MIDI Patterns
8. Keep the settings as they are and select different styles on the Pattern Library pop-up menu
in the Pattern section to compare the sound and to find the style that you want to use.
Converting Styles to MIDI Patterns

PREREQUISITE
● In the pad section on the left, the pad that contains the style is active.
● You have set up the style on the Agent page so that it plays the way you want it.
PROCEDURE
● Click Convert Style to MIDI Pattern on the Agent page to convert the current style into a
MIDI pattern.
NOTE
The conversion takes into account all the settings in the Performance section, with one
exception: If you convert a percussion style, Random Complexity is not taken into account.
If you convert an acoustic style, only the active part of the style, that is, the selected main, fill,
intro, or ending is converted.
RESULT
NOTE
Once a style is converted to a MIDI pattern, it can no longer be opened in the style player.
Creating the Different Sections of a Drum Track

To create the different sections of your drum track, for example, an intro, a fill, a main part, and
an ending, it is useful to start by copying the current style to other pads. And then, to modify the
style for those pads.
PREREQUISITE
You have set up a pattern pad to play back a style.
PROCEDURE
1. To copy the settings of the current pad to another pad, hold down Alt/Opt and drag the pad
onto another pad.
2. Repeat this until you have four pads with the same settings.
3. Select the second pad. Set the dial to a fill.
You can choose between eight fills.
4. Set up the fill to your liking. For example, change the complexity, activate half-time, try out
different intensity settings, etc.
5. When you are done, right-click the pattern pad, select Rename Pad from the context menu,
and enter a name for the pad, for example Fill.
6. Set up the pads for intro and ending in the same way.
15
Getting Started
Recording Trigger Notes for Your Patterns
AFTER COMPLETING THIS TASK

You can now record trigger notes for the pads in the DAW or transfer the patterns to the DAW by
dragging them into a project.
RELATED LINKS
Converting Styles to MIDI Patterns on page 15
Dragging Patterns into a Project on page 16
Recording Trigger Notes for Your Patterns on page 16
Recording Trigger Notes for Your Patterns

When you use Groove Agent SE in a DAW project, you can record trigger notes at the positions
where you want to trigger the patterns. This allows you to create the drums for your project on
the fly, in the project context.
PREREQUISITE
You have created a project in your DAW to which you want to add a drum track.
You have added a MIDI track that is assigned to Groove Agent SE.
PROCEDURE
1. In Groove Agent SE, set up the MIDI patterns or styles for your drum track.
2. In the DAW, record-enable the MIDI track and start playback of your project.
3. Record the trigger notes at the positions in the project where you want to hear the drums.
RESULT
When you now play back the project, the trigger notes trigger the pattern playback. You can
automate parameters like Complexity and Intensity from within the DAW. Any changes that you
make to a pattern in Groove Agent SE are automatically reflected in all occurrences of this
pattern in the project.
Dragging Patterns into a Project

You can drag patterns from Groove Agent SE into your DAW project and edit them there.
PREREQUISITE
You have created a project in your DAW to which you want to add a drum track.
You have added a MIDI track that is assigned to Groove Agent SE.
Before you drag your patterns into a project, check whether the pattern pads are mapped to the
same keys as the instrument pads. If this is the case, the trigger notes of the pattern pads
interfere with the notes that are part of your pattern pads. To prevent this, you can either set up
a different MIDI port or a different MIDI channel for the pattern pads.
16
Getting Started
Editing Patterns in the DAW
PROCEDURE
1. In Groove Agent SE, set up the MIDI patterns or styles for your drum track.
2. Select the pad that plays the pattern that you want to use and drag it onto the MIDI track at
the position where you want to insert it.
3. In the same way, drag the other pads into the project until you have assembled your drum
track.
RESULT
The patterns are inserted as MIDI parts on the track. When you play back the project, the drum
parts are played back as well.
RELATED LINKS
Using Different MIDI Channels/Ports for Instrument Pads and Pattern Pads on page 34
Editing Patterns in the DAW on page 17
Editing Patterns in the DAW

When you have created MIDI parts from your Groove Agent SE patterns, you can further edit the
parts in the DAW.
PREREQUISITE
You have assigned a MIDI track in your DAW to Groove Agent SE.
You have dragged your patterns to this track.
PROCEDURE
1. In the Inspector of your Steinberg DAW, open the Drum Map pop-up menu for the track
and select Create Drum Map from Instrument.
This creates a drum map based on the information about the used drum sounds in Groove
Agent SE.
2. Open the part in the Drum Editor.
The editor displays the correct drum names in the drum names list on the left. In the event
display on the right, the MIDI notes are shown.
3. Set up the pattern by deleting or entering notes, by copying or moving notes, etc.
For information about how to edit notes and controllers in the Drum Editor, refer to the
Operation Manual for your Steinberg DAW.
17
Managing Your Sounds
The following sections describe how to load, save, and manage the different kinds of sound files
in Groove Agent SE.
Loading Kits
You need to load a kit to produce a sound with Groove Agent SE.
There are several ways to load kits:
● Via drag & drop from the Kits page or the Browser page in the Load panel onto the kit slot
or the kit rack.
● Via drag & drop from the File Explorer/macOS Finder or the MediaBay of your Steinberg
DAW.
● Via the context menu in the kit rack.
● By clicking the Load Kit button at the right of the kit name in the kit slot section.
● By clicking the name of the kit in the lower section of the kit rack to open the Load dialog
and selecting a new kit.
Kit Slot
This section shows the name of the loaded kit, allows you to load a different kit, and make basic
settings such as specifying the polyphony for the kit, for example.
Load button
Click this button to show the list of available kits.
You can also click the kit name to open this list. Right-click the kit name to open the kit
context menu.
Load Previous/Next Kit

Click these buttons to load the previous/next kit from the list of available kits.
Load Kit with Patterns

Activate this button to make sure that kits are always loaded together with their
patterns.
Polyphony
Adjusts the polyphony of the kit.
MIDI Input Indicator

The MIDI symbol starts blinking if incoming MIDI signals are detected.
Velocity Curve
Sets the velocity response curve of the kit. This allows you to adapt the kit to your
hardware MIDI controller or playing style.
18
Kit Rack
Follow Transport
If Follow Transport is activated, you can use the transport functions in the DAW to
start and stop playback both in the DAW and in Groove Agent SE. This allows you to
record an audio track in your host application while Groove Agent SE plays the drums,
for example.
● If playback is started in the DAW, Groove Agent SE plays back the active pad.
● If trigger keys are sent and the active pad is in Exclusive mode, playback switches
to the pad that was triggered last. Playback returns to the active pad as soon as
the trigger key is released. Pads that are not in Exclusive mode can play
simultaneously.
NOTE
Follow Transport works differently in Jam Mode.
Song Position Counter

The song position counter shows the current song position in bars, beats, and 16th
notes. If you activate the Play button in Groove Agent SE, the song position counter
always starts at 1.0.0.0 and runs until you click stop.
Tempo Display
The tempo display next to the position counter shows the tempo of the host
application.
Kit Rack
The kit rack to the right of the kit slot section gives you an overview over the loaded kit and its
agent, and allows you to perform some editing via the context menu.
Kit Context Menu
Load Kit
Allows you to load a kit.
19
Kit Context Menu
Load Kit With Patterns

Allows you to load a kit with its MIDI patterns or its styles, if any.
Load Pattern Group

Allows you to load a predefined set of MIDI file assignments and play parameter
settings for the 16 pads of the group.
Save Pattern Group

Allows you to save the 16 pads of the group and their settings as a pattern group.
Delete Pattern Group

Allows you to delete a pattern group.
Save Kit
Saves the kit. If you try to overwrite write-protected factory content, a dialog opens
that allows you to save the edited kit under a new name.
Save Kit As
Allows you to save the kit under a new name.
Remove Kit
Removes the kit and its patterns from the slot.
Revert to Last Saved Kit

Reverts to the kit that was originally loaded on the slot. If the kit was loaded without
patterns, only the kit and no patterns are loaded.
Cut Kit
Copies the kit and its patterns and removes it from the slot.
Copy Kit
Copies the kit and its patterns.
Paste Kit
Pastes the copied kit into the slot. If the slot already contains a kit, it is replaced.
Rename Kit
Allows you to rename the kit.
Reset Agent
Loads the Init preset of the agent.
Import (Beat Agent SE only)

Allows you to import MPC and GAK files into Beat Agent SE kits.
Export Kit With Samples (Beat Agent SE only)

Exports the Beat Agent SE kit together with its associated samples.
NOTE
Samples that are part of protected content, such as the VST Sound content, cannot be
exported.
Export Mixer and FX to Cubase/Nuendo

Allows you to transfer the Acoustic Agent SE mixer settings, complete with equalizer
settings and effects, to your Steinberg DAW, which means, you can perform mixing for
the kit entirely in the MixConsole.
20
Managing and Loading Files
Export Mixer to Cubase/Nuendo

Allows you to transfer the Acoustic Agent SE mixer settings, without equalizer settings
or effects, to your Steinberg DAW. This is useful if you want to create your own mix
from scratch.

The Load panel allows you to manage, navigate to, load, and preview different file types.
To display the Load panel, click the corresponding button in the top right of the edit display.
To open the Load panel in a separate window, click Dock/Undock Load Panel at the right of
the page buttons.
The Load panel contains the Kits, Instruments, Styles, MIDI, and Browser pages.
In the top section of the page, you specify which sounds to look for. The lower section presents
the corresponding results.
● To adjust the size of the two sections, drag the divider at the top of the results list.
21
Managing Files via the Kits, Instruments, Styles, and MIDI Pages
The Kits, Instruments, Styles, and MIDI pages are based on Steinberg’s MediaBay technology.
These pages give you access to the available kits, MIDI patterns, styles, etc.
● The Kits page gives you access to the kits.

If you want to load kits with their patterns or styles, activate Load Kit with Patterns or
Styles.
If this button is deactivated, only the kits are loaded while the patterns and styles are kept.
● The Instruments page on the Load panel shows the instruments that you created from your
instrument pads.
● The Styles page gives you access to the styles.
The factory styles are created for Acoustic Agent SE kits and are usually loaded and used in
the Style Player. Furthermore, content from Content Sets such as “Nashville” and “Simon
Phillips Studio Drums”, make use of the style player.
You can also load styles in Beat Agent SE. However, in this case, make sure to map the
instruments correctly to the instrument pads.
Percussion styles are available for the Percussion Player used by Percussion Agent, but can
also be used with the MIDI Player.
● The MIDI page gives you access to MIDI files and MIDI patterns. They can be used in the
MIDI Player. The MIDI files in the factory content are created for use in Beat Agent SE kits.
Furthermore, the MIDI file content from VST Sound Instrument Sets such as “Neuro Mindset”
or “Prime Cuts” can be loaded in the MIDI Player.
Filtering the Results

You can filter the results list using the configurable attribute columns at the top or by restricting
the search to a specific content set.
Content Set Filter

Use the Select Content Set pop-up menu to restrict the search to a specific content set. By
default, the search is performed in all installed content sets.
22
Attribute Filter
● To set up the filter, click on specific values in the columns.
● To select different filter criteria, click the column header and select a different attribute from
the submenu.
Only the files that match the set filter are displayed in the results list.
Results List
The results list shows all files that have been found, according to your filter settings.
Content Filters
The content filter buttons allow you to define whether to show the entire content ,
only the factory content , or only your user content .
View Filters (Kits Page)

The toolbar has two filter buttons that allow you to define which preset types to
display: multis or kits. In the results list, the corresponding icon is shown to the left of
the preset name.
Style Filters (Styles Page)

The two style filter buttons allow you to show the styles that are used in the Style
Player , the styles that are used in the Percussion Player , or both.
Rating Filter
You can limit the results list according to the rating of the presets. Use the rating slider
to define the minimum rating.
Rescan Disk
Rescans the disk. Click this button if you added or removed files on your hard disk, for
example.
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.
Text Search
In the text search field on the results list toolbar, you can enter text contained in the
name 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.
To restrict the search to the names only, activate Search Names Only . This way,
other attributes are not taken into account.
Tempo Filter
The Tempo Filter pop-up menu allows you to limit the results list to files within a
specified tempo range. This way, you can restrict the results to files that match your
current project. The options on the pop-up menu are automatically adapted to the
tempo of the host application. You can set the filter to display only files that match the
project tempo, or you can allow for a deviation of 5, 10, or 20 bpm from the project
tempo.
23
NOTE
If you change the tempo in the host application, this is not reflected automatically on
the pop-up menu. The menu is updated when you open it and select an option.
To show all files, regardless of their tempo, set Tempo Filter to Any Tempo.
RELATED LINKS
Configuring the Results List on page 24
Configuring the Results List

You can specify which file attributes you want to be displayed in the results list and set up the
column order so that this attribute is visible without scrolling. This allows you to find the files that
have a particular attribute more quickly.
CHOICES
● To configure which attributes are shown in the results list, click Set up Result Columns in
the upper right corner of the results list and activate the corresponding entries. New
attributes are added at the right of the list.
● 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.
Assigning General MIDI Program Change Numbers to Sounds

Assigning General MIDI program change numbers to sounds allows you to use MIDI program
change messages to load the sounds into the slot of the corresponding MIDI channel.
PROCEDURE
1. In the Load section, select the Kits, Styles, or MIDI page and click Set up Result Columns
on the title bar of the lower section.
2. Select Musical > GM Sound.
3. Select the sound to which you want to apply the GM program change number.
4. In the GM Sound column for the sound, select the General MIDI program change number
that you want to use.
You can assign the same GM Sound program number several times. If a program number is
used more than once, the Rating attribute can be used to decide which program to load.
File Info Section

The File Info section below the results list shows information about the selected file.
● For MIDI files, original tempo, signature, and length are shown, as they are saved in the file.
● For styles, signature and length are shown.
● For instruments, the name of the instrument and the number of samples that it contains are
shown.
24
Prelisten Section for MIDI Patterns and Styles

The Prelisten section below the results list allows you to listen to the selected MIDI pattern or
style.
For MIDI pattern and style files, the following controls are available:
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.
Auto Play
Automatically starts playback of the focused file.
Loop Playback
If this button is activated, the focused file is played back repeatedly.
Play Position
The play position indicator shows the playback position within the focused file. To
select another position for playback, click on the slider or drag the handle.
For styles, the following additional controls are available:
Style Part
Allows you to select a part of the style, such as intro, fill, ending, etc.
Complexity/Variation
● If the Main part of the style is selected, you can select a complexity.
● If any other part of the style is selected, you can select a variation.
Prelistening Patterns and Styles

With the controls below the results list, you can listen to the MIDI patterns and styles in the
results list before loading them.
25
PROCEDURE
1. On the Styles or MIDI page, select a file in the results list.
If you listen to a style, you can use the pop-up menu on the left to specify which part of the
style you want to listen to. With the Complexity/Variation control, you can select a
complexity for the Main part of the style or a variation for the other parts of the style.
2. Use the transport controls below the list to play back the file.
If Auto Play is activated, the selected file is automatically played back.
3. Step through the files in the results list to listen to different files.
Prelisten Section for Instruments

The Prelisten section below the results list allows you to listen to the selected instrument.
Level
Play
Stop
Prelisten in Place
Activates prelistening of the selected instrument. This allows you to listen to the
instrument in the context of a running style or pattern.
Click the triangle above the button to select a prelisten option.
● If Always is selected, selecting an instrument in the results list always triggers the
instrument.
● If Auto is selected, selecting an instrument in the results list does not trigger the
instrument if the Style Player or the MIDI Player are playing. This prevents the
prelisten instruments from being triggered off the beat.
NOTE
As soon as the instrument loses the focus in the results list, the Prelisten function
stops and the original pad content is played again. This allows you to quickly compare
two instruments, for example.
Loading MIDI Patterns or Styles in Your Host Application

You can drag MIDI patterns and styles from the Load panel onto a MIDI track in your host
application.
PREREQUISITE
You have added a MIDI track in your host application project.
PROCEDURE
1. In the Load section, open the MIDI page or the Styles page.
2. Select the file that you want to import into your host application.
3. If you want to drag a style into the project, use the prelisten controls below the results list to
select the part of the file and the complexity/variation.
26
All performance settings, such as Auto Complexity, Auto Fill, Quantize,etc. are taken into
account, that is, they will be part of the resulting MIDI pattern.
4. Drag the file onto a MIDI track in you DAW.
RESULT
A MIDI part containing the pattern is added to your project.
The MIDI patterns that you drag out of Groove Agent SE are MIDI files, that is, you can drop them
in any host application that supports drag and drop of MIDI files.
Editing Attributes
Presets can be described by using a predefined set of attributes.
PROCEDURE
1. In the New Preset Attributes section of the Save dialog, click in the field of the attribute
value that you want to set.
Depending on the attribute, a menu or a dialog opens.
2. Select a value.
Attribute values are written into the corresponding preset files.
Loading Files Using the Browser

In the Browser, you can browse for samples, MIDI files, and presets. The Browser also shows
samples that are part of VST Sound content.
In the Browser, you can search and load the following files:
● Samples from the file system or from within loaded kits.
27
NOTE
Samples can only be loaded for Beat Agent kits.
● MIDI files.
● Multis and kits.
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 of
these folders, click its name.
● To open the history, click the Navigation History button on the right.
Location Tree
The location tree on the left in the Browser allows you to navigate through your samples, in any
folder on your system. You can even access files contained in VST Sound containers and ISO files.
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.
Show in Explorer (Win)/Reveal in Finder (Mac)

Shows the location of the selected file on your system.
Locations
You can save folders or directories on 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 by
an asterisk, the folder has not been saved as a location yet.
28
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.
● 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 all files that Groove Agent
SE can read, 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 the
corresponding subfolder.
● To open a folder or location, double-click it in the results list.

If you double-click a preset, its contents are shown.
● To move up one level in the folder hierarchy, click Browse Containing Folder.
You can limit the number of results in the results list using the text search function. This way, you
can search for files with specific names, for example. For presets, the search also takes any
attributes into account. The value field in the top right corner indicates the number of files that
match the search text. To clear the search text, click Clear Filter Text.
Configuring the Results List

You can specify which file attributes you want to be displayed in the results list and set up the
column order so that this attribute is visible without scrolling. This allows you to find the files that
have a particular attribute more quickly.
CHOICES
● To configure which attributes are shown in the results list, click Set up Result Columns in
the upper right corner of the results list and activate the corresponding entries. New
attributes are added at the right of the list.
● 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.
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.
2. In the top left corner of the results list, click the Search Subfolders button and enter the
search text in the text field.
29
3. Optional: To restrict the search to the name of the file, activate Search Names Only on the
right of the text field.
4. Optional: Click the button to the right of the search field to specify whether you want to
search for samples, MIDI patterns, kits, multis, or all types.
5. To start the search, press Return or click Search/Stop Search to the right of the search text.
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.
6. Double-click a result to show it in the location tree.
Prelisten Section for MIDI Patterns and Styles

The Prelisten section below the results list allows you to listen to the selected MIDI pattern or
style.
For MIDI pattern and style files, the following controls are available:
Level
Play
Stop
Pause
Auto Play
Automatically starts playback of the focused file.
Loop Playback
Play Position
For styles, the following additional controls are available:
Style Part
Allows you to select a part of the style, such as intro, fill, ending, etc.
Complexity/Variation
● If the Main part of the style is selected, you can select a complexity.
30
● If any other part of the style is selected, you can select a variation.
Prelisten Section for Samples

The Prelisten section below the results list allows you to listen to the selected sample.
Level
Play
Stop
Pause
Prelisten in Place
Activates prelistening of the selected sample.
Click the triangle above the button to select a prelisten option.
● If Always is selected, selecting an audio file in the results list always triggers the
sample, regardless of whether a sequence from the host or the internal pattern
player is playing.
● If Auto is selected, selecting an audio file in the results list does not trigger the
sample if a sequence from the host or the internal Style Player or MIDI Player is
playing. This prevents the prelisten samples from being triggered off the beat.
However, the prelisten sample for the pad is replaced and when the pad is played,
the new sample is used.
NOTE
As soon as the sample loses the focus in the results list, the Prelisten function stops
and the original pad content is played again. This allows you to quickly compare two
samples, for example.
Loop Playback
Replace Pad/Focused Sample

Determines whether the sample that is selected for prelistening replaces the entire
pad or the focused sample .
Play Position
Missing Samples
If you browse the samples of a program and you cannot load them or listen to them, they may
have been moved or deleted. In this case, the sample info displays “Sample not found”.
To remedy this, load the program again and make sure that no samples are missing. Afterwards,
be sure to save the program with the restored sample paths.
31
RELATED LINKS
Finding Missing Samples on page 84
Loading Files
● To load the sample that is focused in the results list into the selected instrument pad, use the
key commands Return or L , or double-click the file.
● To load a kit, drag it from the results list to the kit slot or onto a pad.
Some file types are not supported. In this case, an icon is displayed to indicate that the file
cannot be loaded.
Protected kits are shown with a lock icon to indicate that you cannot extract single samples.
However, you can load the kit as a whole.
Replacing the Focused Sample

When you load a sample via the Browser, all samples on the selected pad are replaced. But you
can also replace only a specific sample.
NOTE
You can also replace samples that are part of the factory VST Sound content.
PROCEDURE
1. On the Edit page, in the mapping view, select the sample that you want to replace.
2. In the Browser, activate Replace Pad/Focused Sample so that a waveform is displayed on
the button.
3. In the location tree, browse to the new sample and double-click it.
RESULT
The selected sample is replaced with the new sample. All sound settings of the previous sample
are kept.
NOTE
Replace Pad/Focused Sample affects only the loading of samples via double-click or key
commands. It does not affect the loading of samples via drag & drop from the Browser to pads.
32
Working With Pads
Groove Agent SE features two different types of pads: instrument pads and pattern pads.
Instrument pads are used to trigger samples. Pattern pads trigger MIDI drum patterns or styles.
Instrument and pattern pads have multiple functions and can show various information about
the pads. Some pad functions are only available for specific agents. If this is the case, this is
clearly stated.
The pad section on the left can show the instrument pads or the pattern pads. To switch between
the instrument pads and the pattern pads, click the corresponding button above the pads.
Pad Section
The pad section is located on the left in the plug-in window. It contains the transport controls,
the group buttons, and the pads.
Transport Controls
The transport controls allow you to trigger the focused pattern pad without playing a MIDI note.
Stop
Stops playback of the selected pad.
Start
Starts playback of the selected pad.
NOTE
If you switch between pattern pads during playback, the pattern changes according to
the set Trigger Mode.
Group Buttons
The pad section provides 16 pattern pads and 128 instrument pads, organized in eight groups of
16 pads.
You can switch between the groups by clicking on the group buttons. The button of the active
group is highlighted. If one or more pads of a group have samples mapped to them, an orange
LED above the group button lights up. If a pad within a group receives a MIDI note, a green MIDI
indicator LED lights up.
Pads
Pattern pads trigger MIDI drum patterns or styles. Instrument pads trigger samples.
● Pads show the associated MIDI note in the top right corner.
33
Working With Pads
Renaming Pads
For pattern pads, you can change the MIDI note assignment. For instrument pads, you can
only change this if Use Hardware Controller Mapping is activated.
● In the lower section, the name of the pad is displayed.

● If samples are assigned to an instrument pad, the LED above the pad lights up.
● If a MIDI file is mapped to a pattern pad, the LED above the pad lights up.
● A pad lights up if the associated MIDI note is triggered.
● To select a pad without triggering a sample or pattern, Alt/Opt -click the pad.
● A yellow frame around a pad indicates that this pad is selected for editing.
● You can edit multiple selected pads. The first selected pad shows a yellow frame, the rest of
the selected pads a lighter yellow frame.
Pad Colors
You can colorize the pads using up to 16 different colors. This can improve the overview over the
instruments within your kit. For example, you can set the bass drum to one color, the snare to
another, toms and cymbals to another, etc.
● To apply a color to a pad or to several selected pads, open the context menu and select a
color from the Set Color submenu.
NOTE
If you use the pattern pads in individual mode, you can set up different pad colors for each kit
slot.
Renaming Pads
Renaming pads is useful if the names of the samples or the MIDI files are either too long or not
very intuitive. Furthermore, it allows you to indicate that more than one sample is mapped to a
pad, for example.
PROCEDURE
● To change the name of a pad, right-click it, select Rename Pad, enter a new name and press
Enter .
NOTE
You can set up different pad names for the individual kit slots if Global mode is not activated
for the pattern pads.
Using Different MIDI Channels/Ports for Instrument Pads

and Pattern Pads
By default, instrument and pattern pads share the same MIDI port. If instrument and pattern
pads are both assigned and share the same trigger note, the pattern pad always gets priority,
therefore, instrument pads that use the same trigger note as a pattern pad cannot be played via
34
Working With Pads
Instrument Pads
the same MIDI port. In this case, you have two options: You can set up a different MIDI port or a
different MIDI channel for the pattern pads.
It is recommended to use either of these functions or combine them, in order to control pattern
and instrument pads separately.
Using the Pattern MIDI Port for Pattern Pads

To be able to play all instrument and pattern pads via MIDI, assign a separate MIDI port to the
pattern pad section. This way, you can trigger instruments on one MIDI port and patterns on the
other.
PROCEDURE
1. Activate Use Pattern MIDI Port for Pattern Pads in the lower left corner of the pattern pad
section.
If another port is used, MIDI data is received on all MIDI channels.
2. In your DAW, set up two MIDI tracks and set the MIDI output of the first track to Groove
Agent SE Main and the MIDI output of the second track to Groove Agent SE Pattern.
RESULT
You can use one MIDI track to play the instrument pads and another MIDI track to play the
pattern pads.
Using Different MIDI Channels for Pattern Pads and Instrument

Pads
You can specify a dedicated MIDI channel to trigger the pads in the pattern pads section. This is
useful if your host sequencer does not support more than one MIDI port.
PROCEDURE
● Click in the MIDI channel field below the pads and select the channel that you want to use
from the pop-up menu.
If this is set to Omni, the pattern pads receive trigger notes on all 16 MIDI channels.
Instrument Pads
Instrument pads are used to trigger samples.
Each pad is mapped to a MIDI note, which can trigger a sample. If samples are assigned to a pad,
the LED above the pad lights up. You can trigger the pads with different velocities. Click in the
lower section of a pad for lower velocities and at the top of the pad for higher velocities.
35
Working With Pads
Instrument Pads
Mute
To mute an instrument pad, click the Mute icon in the upper left corner of the pad.
Click again to unmute.
To unmute all instrument pads, click Reset All Mute below the pads.
Solo
To solo an instrument pad, click the Solo icon in the upper left corner of the pad.
Click again to unsolo.
To unsolo all instrument pads, click Reset All Solo below the pads.
Below the pad section, you find several buttons. These are different for the different agents.
Instrument Pad Context Menu

The context menu contains functions and settings for the instrument pads.
Load Instrument (Beat Agent SE only)

Allows you to load an instrument that you saved for a pad.
36
Working With Pads
Instrument Pads
Save Instrument (Beat Agent SE only)

Allows you to save the current pad with its samples and settings as instrument. The
created instruments are available on the Instruments tab on the Load panel.
Rename Pad
Allows you to rename the pad.
Set Color
Allows you to select one of the 16 available colors for the pad.
Assign Output (Beat Agent SE only)

Allows you to specify an output for all samples of the pad. The following outputs are
available:
● The Kit Mix.
● One of the 16 Agent mixer channels.
● One of the 16 stereo output busses of the plug-in.
If you use Groove Agent SE in a Steinberg DAW, selecting a plug-in output from the
menu automatically activates this output in the host application. The first stereo
out is the Master output. This output is always active.
NOTE
Samples that are routed to an output that is deactivated in your host application
are automatically sent to the Master output of the plug-in.
● One of the AUX channels. This allows you to create sub groups, for example.
Edit/Learn Trigger Note

Allows you to specify a new trigger note for the pad, either by entering it into the value
field or by playing the corresponding note on your hardware controller.
Cut Pad
Removes all pad settings and pastes them to the clipboard.
Copy Pad
Copies the settings of the pad to the clipboard.
Paste Pad
Allows you to paste the pad settings from the clipboard to another instrument pad.
Select All Pads

Selects all 128 pads.
Select All Pads in Group

Selects all 16 pads of the pad group.
Invert Selection
Inverts the selection for all pads, that is, all unselected pads become selected and vice
versa.
Invert Selection in Group

Inverts the selection for the pad group, that is, all unselected pads of the group
become selected and vice versa.
Reset Pad
Removes all samples and resets name, color, and trigger note to the default values for
the selected pad.
37
Working With Pads
Instrument Pads
Reset All Pads

Removes all samples from all 128 pads and resets name, color, and trigger note to the
default values.
Reset Pad Order

Resets all pads to a chromatic order.
Remove All Samples

Removes the samples from the selected instrument pad.
RELATED LINKS
Saving Beat Agent SE Instruments on page 58
Loading Beat Agent SE Instruments on page 58
Using an Alternative MIDI Trigger Note Mapping

If you use an external hardware drum controller that sends specific MIDI notes for specific
instruments, you can specify an alternative MIDI trigger note mapping.
PROCEDURE
1. Activate Use Hardware Controller Mapping in the lower right corner of the instrument pad
section.
Now you can load, save, and delete different trigger note configurations.
2. Specify a new trigger note for the pad.
● Right-click a pad, select Edit/Learn Trigger Note and specify the new trigger note by
entering it into the value field or by playing the corresponding note on your hardware
controller.
● Right-click a pad, select Trigger Notes > Assign Trigger Note and select the note from
the submenus.
Groove Agent SE jumps to the next pad.
3. Assign a MIDI note to all the pads that you want to use and press Enter to stop assigning
MIDI notes.
Assigned trigger notes are shown on the Trigger Notes submenu of the context menu.
Assigning Multiple Trigger Notes to an Instrument Pad

Some hardware drum controller instruments, like crash cymbals, provide several zones. These
zones are sending different MIDI notes, in order to play different articulations. If a drum kit
comes with a sample mapping that contains all articulations on dedicated instrument pads, each
instrument pad only requires one specific trigger note. However, if the kit does not provide a pad
for each articulation, you can assign multiple trigger notes to one instrument pad, so that each
zone on the hardware controller triggers the same sample.
PROCEDURE
1. Activate Use Hardware Controller Mapping in the lower right corner of the instrument pad
section.
Now you can load, save, and delete different trigger note configurations.
2. To specify an additional trigger note for the pad, do one of the following:
● Right-click the instrument pad, select Trigger Notes > Add/Remove Trigger Note and
select the note that you want to add from the submenus.
● Right-click the instrument pad, select Trigger Notes > Learn Additional Trigger Notes
and play the additional note on your keyboard.
38
Working With Pads
Instrument Pads
You can specify up to three additional notes for each pad.

Assigned trigger notes are shown on the Trigger Notes submenu of the context menu.
Removing Additional Trigger Notes

You can remove additional trigger notes in the following ways:
● On the context menu for an instrument pad, select Trigger Notes > Add/Remove Trigger
Note and deselect the note that you want to remove.
● On the context menu for an instrument pad, select Trigger Notes > Remove Trigger Notes
and select the note that you want to remove.
● To remove all additional trigger notes and replace them with a new single trigger note, use
the Edit/Learn option on the context menu.
Using MIDI Effects

For each instrument pad, you can set up MIDI effects on the MIDI FX page.
The MIDI FX page is divided into the Pad Mode, Rudiments, and MIDI Delay sections.
Pad Mode
Pad Mode determines to which pad the settings on the MIDI FX page are applied.
Internal
In Internal mode, the MIDI effects are applied to the samples on the selected pad.
Remote
In Remote mode, you can select to which destination pad you want to apply the MIDI
effects.
This allows you to trigger an instrument with and without MIDI effects, for example.
NOTE
● If the destination pad also contains MIDI effects, these are not taken into account.
● If you set up remote MIDI effects on a pad for which samples are assigned, the
remote MIDI effects are applied only to the samples on the destination pad.
39
Working With Pads
Instrument Pads
If Remote mode is activated for a pad and a destination pad is specified, a remote icon
is displayed on the pad.
● To bypass the remote effects, click Disable MIDI to Remote Pad to the left of the
remote icon.
Rudiments
Active
Click this to activate the articulation.
Type
Determines the rudiment type.
● Flam plays two hits very close together.
● Drag plays three hits very close together.
● Ruff plays four hits very close together.
● Roll continually plays drum hits to produce a sustaining drum sound.
● Buzz emulates the effect of a drummer pressing the stick into the drum while
hitting it. The stick bounces on the drum, producing multiple hits that sound like a
decaying drum roll.
Flam, Drag, Ruff and Roll

For Flam, Drag, Ruff, and Roll, the following parameters are available:
Sync
Synchronizes the hits to the project tempo. The time span between the hits is set in
fractions of beats.
Time
Adjusts the time span between the hits.
Note Value
If Sync is activated, this parameter adjusts the time span in fractions of beats.
Dynamics
Adjusts the dynamics of the hits.
At the minimum setting, all hits are played with the same volume. The higher the
setting, the more the difference in volume between the loud and the soft hits
increases.
Humanize
Use this parameter to randomize the timing, the dynamics, and the pitch of the hits.
Buzz
For Buzz, the following parameters are available:
Grip
Determines how the drumstick is held. Higher settings produce less buzz.
40
Working With Pads
Instrument Pads
Pressure
Adjusts the pressure on the stick. Higher settings produce a longer decay of the buzz.
Humanize
Use this parameter to randomize the timing, the dynamics, and the pitch of the hits.
MIDI Delay
MIDI Delay produces echo effects by repeating the notes that you play.
The subsequent note events can be modified, for example, you can vary the time span between
the echoes with the Distribution parameter.
Active
Activates/Deactivates the MIDI Delay effect.
Sync
Synchronizes the echoes to the project tempo. The time span between the echoes is set
in fractions of beats.
Time
Adjusts the time span between the echoes.
Note Value
If Sync is activated, this parameter adjusts the time span in fractions of beats.
Repeats
Determines the maximum number of echoes.
Damping
Determines whether the echoes fade in or fade out with the MIDI velocity. If you set
this parameter to negative values, the MIDI velocity gradually increases. If you set this
parameter to positive values, the MIDI velocity gradually decreases.
NOTE
Damping only shows an effect if the sound settings of the samples use velocity.
Pitch
Determines how much the pitch changes from echo to echo.
Distribution
Determines the time distribution of the echoes. If you set this parameter to negative
values, the time span between echoes gets shorter, that is, the echoes speed up. With
positive values, the echoes slow down.
41
Working With Pads
Pattern Pads
Pattern Pads
Pattern pads trigger MIDI drum patterns or styles.
The pad section provides 16 pattern pads. Each pad is mapped to a MIDI note. You can assign
MIDI patterns to each pattern pad, to trigger complete drum patterns or single instrument
patterns, depending on the MIDI files. The pads are used to switch between patterns.
If a MIDI file is assigned to a pad, the pad shows a progress indicator and a beat counter. When
the pattern is triggered, the progress indicator shows the playing progress graphically. In
addition, the beat counter shows the current beat during playback. This allows you to see which
patterns are currently running and at which playing position, relative to the length of the pattern.
This can be particularly helpful when Toggle is selected on the Play Mode pop-up menu,
because it provides a quick overview of the patterns that will be stopped and those that will be
triggered.
Assigning MIDI Patterns or Styles to Pads

You can assign MIDI patterns or styles to pads from various locations, by double-clicking, by
using drag and drop or via the Load dialogs.
● Double click a file on the Styles page or the MIDI page in the Load panel to assign it to the
selected pad.
NOTE
If you double click a percussion style when a Beat Agent SE or Acoustic Agent SE kit is loaded,
the style is converted to a MIDI pattern and opened in the Pattern Player.
● Drag a MIDI pattern from the MIDI page in the Load panel onto a pad.
You can also assign multiple MIDI files to consecutive pads this way.
● Drag a style from the Styles page in the Load panel onto a pad.
You can also assign multiple styles to consecutive pads this way.
NOTE
If the current player that is used for a pad does not support the dragged style, the file is
converted to a MIDI pattern and loaded into the MIDI Player.
42
Working With Pads
Pattern Pads
● Drag a MIDI pattern or a style from the Load panel onto the Load field in the MIDI Player/
Style Player.
● Drag a MIDI pattern or a style onto a field on the Overview page.
● Drag a MIDI file from the File Explorer/macOS Finder or from the MediaBay of the Steinberg
DAW onto a pad.
● Drag a MIDI part from the host application onto a pad.
● Drag a file from the File Explorer/macOS Finder onto the MIDI Import field in the MIDI
Player. The file is imported to your user pattern library and assigned to the selected pad.
● Select a pad, open the MIDI Player or the Style Player and select a file from the Select MIDI
Pattern/Select Style pop-up menus.
RELATED LINKS
Assigning Multiple Files to Pads on page 43
Assigning Multiple Files to Pads

You can assign several MIDI patterns or styles to multiple consecutive pads at the same time.
PROCEDURE
1. Move the mouse over the lower part of the pad on which you want to drop the first file.
A yellow frame indicates which pads receive a file.
2. Drop the files.
RESULT
The files are imported to your user library and are automatically assigned to the pads.
Pattern Pad Context Menu

The context menu contains functions and settings for the pattern pads.
43
Working With Pads
Pattern Pads
Rename Pad
Allows you to rename the pad.
Set Color
Allows you to select one of the 16 available colors for the pad.
Edit/Learn Trigger Note

Allows you to specify a new trigger note for the pad, either by entering it into the value
field or by playing the corresponding note on your hardware controller.
Assign Trigger Note

Allows you to select a new trigger note for the pad from a submenu.
Cut Pad
Removes all pad settings and pastes them to the clipboard.
Copy Pad
Copies the settings of the pad to the clipboard.
Paste Pad
Allows you to paste the pad settings from the clipboard to another pattern pad, of the
same or a different pattern group.
Select All Pads

Selects all 128 pads.
Invert Selection
Inverts the selection for all pads, that is, all unselected pads become selected and vice
versa.
Reset Pad
Removes the MIDI file and the name from the pad and resets color and trigger note
settings to the default values.
Reset All Pads

Removes the MIDI file and the name from all pads and resets their color and trigger
note settings to the default values.
Remove Patterns
Removes all patterns and styles.
Removing MIDI Files from Pads

You can remove patterns and styles from a pattern pad using the pad context menu.
● To remove the pattern or style for a single kit and pattern pad, right-click a pad and select
Remove Pattern from Selected Kit from the context menu.
● To remove all patterns and styles from all kits at the same time right-click one of the pads
and select Remove Patterns from the context menu.
Locking Pad Settings

Locking the pad settings is useful if Global mode is activated for the pattern pads and you want
to keep the current pad settings for one kit slot, for example.
If the pad settings are not locked and you load a new kit, pad settings that are saved in the kit
preset, such as Exclusive, Play Mode, pad color, etc. overwrite the existing pad settings.
44
Working With Pads
Pattern Pads
NOTE
Inactive pads saved in the kit preset do not overwrite any existing pad settings.
● To lock the pad settings, activate Lock Global Pad Settings below the pad section.
If this button is activated, the current pad settings are kept when you load a new kit.
Moving and Copying Pattern Pads

You can copy or move pattern pads with all their settings to other pattern pads of the same or a
different pattern group.
● To move the active pattern pad with all its settings to another pad, drag the pad and drop it
on the destination pad.
● To copy a pattern pad to another pad, hold down Alt/Opt and drag the pad on the
destination pad.
● To move or copy one or more pads onto other pads, use the context menu commands Cut
Pad, Copy Pad, and Paste Pad.
This way, you can move or copy multiple pads at the same time.
Pattern Groups
You can save the 16 pads with their patterns and settings as a pattern group. This allows you to
quickly restore and reuse particular patterns and settings.
Pattern groups include all settings that you make in the Pad Settings section at the bottom of
the Agent page, such as Exclusive mode, Play Mode, etc.
● To save the current pattern group for a kit, right-click the kit in the kit rack and select Save
Pattern Group.
● To load a pattern group, right-click the kit in the kit rack and select Load Pattern Group.
NOTE
If you load a pattern group, the pad settings are only restored on empty pads. If you have
assigned a pattern to a pad, your pad settings are not overwritten by the pattern group.
Agent Page
The Agent page allows you to select and set up the patterns or styles that are played by the
pattern pads. With the two buttons at the top, you can select whether you want to use the MIDI
Player or the Style Player.
The MIDI Player allows you to play and modify one pattern. The Style Player offers a variety of
patterns, suited to create the different parts of your drum tracks, for example. Both players offer
you a range of playback functions and settings.
You can switch between the two players using the buttons at the top of the page.
You can display the pad settings at the bottom of the page by activating the Show Pad Settings
button at the top right of the Agent page.
45
Working With Pads
Pattern Pads
The players are only available for active pads. To activate a pad, click the Pad On/Off button in
the top right section of the page.
RELATED LINKS
Style Player on page 48
MIDI Player on page 46
Pad Settings on page 53
MIDI Player
The MIDI Player allows you to load your own MIDI files or one of the included MIDI patterns and
set up playback for them.
Mute Pattern
Mutes the current pattern.
MIDI Import
To import MIDI files from your file system or MIDI parts from your host application into
the user pattern library, drag them onto the MIDI Import field.
You can import multiple MIDI files at the same time. The first file is assigned to the
selected pad.
Load MIDI Pattern

Allows you to load a MIDI pattern.
NOTE
Pattern pads always contain the MIDI data and do not reference the original MIDI files.
You can also load a pattern by dragging it from the Load panel onto the Load MIDI
Pattern field. If you drag a style file onto the field, the Agent page automatically
switches to the Style Player.
Save MIDI Pattern

Allows you to save the current MIDI pattern as user pattern.
46
Working With Pads
Pattern Pads
Original Tempo/Time Signature

Displays the original tempo and time signature as saved in the MIDI file.
MIDI Export
To export a pattern, click the MIDI Export field and drag it onto a MIDI track in your
host application. You can also drag the pattern to other locations and applications that
support MIDI files.
Quantize Amount
This parameter defines how much of the quantization grid is applied. A value of 100 %
means the MIDI note events play back only at the specified quantize note value.
Smaller values move the notes only partially towards the next quantize note value.
With a value of 0 %, no quantization is applied.
Quantize Grid
This parameter allows you to set up a quantization grid, in fractions of beats. You can
also specify dotted and triplet values.
Swing Factor
Allows you to shift the timing of notes on even numbered beats to give the pattern a
swing feeling. Negative values shift the timing backward, and the notes are played
earlier. Positive values shift the timing forward, and the notes are played later.
Swing Grid
Determines the grid for applying Swing. For example, to shift the timing of every 16th
note in a pattern, set this to 1/16.
Start
Specifies the beat from which the pattern starts to play.
End
Specifies the end of the pattern. Initially, this parameter is set to the original length of
the MIDI pattern.
This value is limited to the length of the pattern.
Effective Pattern Length

You can use the range slider below the Start and End parameters to adjust the range
of the pattern loop. To change one of the values, drag the left or right edge of the
slider.
Gate Scale
Allows you to shorten or lengthen the notes of the pattern. At a value of 100 %, the
notes play with their original gate length.
NOTE
Gate Scale has no effect on samples that are played in One Shot mode. They always
sound until the end.
Velocity Scale
Raises or lowers the note-on velocities of the pattern. At a value of 100 %, the notes are
played with their original velocity.
Tempo Scale
Defines the speed at which the pattern is running. You can choose between half,
normal, and double speed.
47
Working With Pads
Pattern Pads
MIDI Import/Export and Alternative Trigger Note Mappings

If you are working with alternative trigger note mappings, this is taken into account and the MIDI
pattern is adapted automatically on import/export. This is important if you are recording MIDI
with a hardware drum controller and you want to import MIDI parts from the host application or
export patterns from Groove Agent SE to the host application during that process.
If you recorded the MIDI file with the standard trigger note mapping, deactivate Use Hardware
Controller Mapping in the pad section.
RELATED LINKS
Playing back Pattern Pads on page 14
Using an Alternative MIDI Trigger Note Mapping on page 38
Style Player
The Style Player allows you to load one of the included styles and make playback settings for it.
Styles are complex structures of multiple patterns suited to create different sections of the drum
tracks, such as, fills, endings, and intros.
NOTE
If you want to use Beat Agent SE kits with the Style Player, make sure to use a GM instrument
mapping, such as is used in the Acoustic Agent SE kits, for example.
Mute Pattern
Mutes the current pattern.
Load Style
Allows you to load a style.
You can also load a style by dragging it from the Load section onto the Load Style
field. If you drag a MIDI pattern file onto the field, the Agent page automatically
switches to the MIDI Player.
Original Tempo/Time Signature

Displays the original tempo and time signature as saved in the MIDI file.
MIDI Export
To export a style, click the MIDI Export field and drag it onto a MIDI track in your host
application. You can also drag the style to other locations and applications that support
MIDI files.
48
Working With Pads
Pattern Pads
Quantize Amount
Adjusts the timing of the pattern, from live-played to hard-quantized timing.
● At a setting of 0 %, the pattern plays with the original timing.
● At a setting of 100 %, the timing is hard-quantized.
NOTE
Flams and rolls are not affected by this parameter.
Swing Factor
Allows you to shift the timing of notes on even numbered beats to give the pattern a
swing feeling. Negative values shift the timing backward, and the notes are played
earlier. Positive values shift the timing forward, and the notes are played later.
Swing Grid
Determines the grid for applying Swing. For example, to shift the timing of every 16th
note in a pattern, set this to 1/16.
Pattern Dial
Allows you to specify whether you want the style player to play a Main pattern, a Fill,
an Ending, or an Intro. Depending on your selection, you can choose between
different variations. For example, eight different fills are available.
Complexity
You can modify the complexity of drum patterns. Increasing the complexity can add
more notes, change from hihat to ride or from snare to toms, for example. This allows
you to introduce a feel of free-style playing to a pattern. You can set the complexity in
the following ways:
● Move the Complexity handle below the display to the right or left. Drag to the
right to increase the complexity, and to the left to decrease the complexity.
● Click in the display and move the combined Complexity/Intensity control to the
left or right.
You can modify complexity and intensity at the same time by moving the control
both on the x and the y axis.
● Double-click in the Complexity value field above the display and enter a new value.
NOTE
The Complexity parameter is only available for main and halftime patterns, not for
intros, fills, and endings.
Intensity
The intensity is controlled via the y-axis of the x/y control of the Style Player. All
patterns support the Intensity parameter. The patterns play with their original velocity
at the top position of the y-axis. Decreasing the intensity means decreasing the
velocity. You can set the intensity in the following ways:
● Move the Intensity handle to the right of the display up or down.
● Click in the display and move the combined Complexity/Intensity control up or
down.
You can modify complexity and intensity at the same time by moving the control
both on the x and the y axis.
● Double-click in the Intensity value field below the display and enter a new value.
49
Working With Pads
Pattern Pads
Half-Time On/Off
Activates half-time rhythmic feel for the playback of the main pattern. This is reached
by extending the normal rhythm over two bars rather than by halving the tempo. If a
style does not contain halftime patterns, this parameter is not available.
NOTE
This parameter affects only the main patterns. Intros, endings, and fills do not support
half-time playing.
Auto Complexity
This parameter varies the set Complexity randomly, creating a less static playback of
the styles.
Click Auto Complexity to open the menu with the available options.
● 1/1 Bar – The complexity varies randomly after a full bar.
● 1/2 Bar – The complexity varies randomly after half of a bar.
● 1 – The complexity is increased on the first beat of a bar. All other beats of the bar
have the same or a lower complexity.
● 1+3 – The complexity is increased on the first and the third beat of a bar. The other
beats have the same or a lower complexity.
● 2+4 – The complexity is increased on the second and the fourth beat of a bar. All
other beats of the bar have the same or a lower complexity.
● 1+4 – The complexity is increased on the first and the fourth beat of a bar. All other
beats of the bar have the same or a lower complexity.
● Auto Fill – The complexity changes every time that a fill is played by the Auto Fill
function.
For example, if Auto Fill is set to 2, the complexity changes automatically after bar
2, 4, 6, and so on.
NOTE
If Auto Fill is deactivated, the complexity does not change.
● To deactivate Auto Complexity, select Off.

If Auto Complexity is activated, the dot in the background of the complexity/intensity
display indicates which complexity is currently played.
Break
The fills from the style player do not have to cover an entire bar. For example, a fill
might cover only the last two beats of a bar.
● If you want a pause before the fill starts, activate the Break button.
● If you want the previous pattern to play up to the start of the fill, deactivate the
Break button. This way, no gaps occur.
If no pattern is playing when you trigger a fill, the main pattern of the style that is
used by the pad is played until the fill starts. The Complexity setting of the pad is
taken into account.
Auto Fill
With the Auto Fill function, the main pattern can play back a fill after a specified
interval of bars. This is useful for jamming with Groove Agent SE. For example, with a
setting of 4, you get a fill every 4 bars. Each time, the fill is randomly chosen from the
eight available fills.
If Auto Fill is activated, the number of the fill that is playing lights up in yellow.
50
Working With Pads
Pattern Pads
NOTE
This setting affects only the main pattern. Intros, endings, and fills are not affected.
They play back as usual, that is, they do not change into a fill after the set interval.
Auto Fill Options
If the Auto Fill Options are activated, you can choose which fills are used by Auto Fill.
This way, you can limit the use of fills to those that really go with your sound.
NOTE
When you change the pattern group or load another kit, all fills are automatically
activated.
Crash Mode
Determines whether main pattern, intro, fill, and ending play with crash cymbals.
● If Always is selected, the style player plays the crash cymbals of the main pattern
and a crash cymbal on the first beat after the fill.
● If Fill/Ending is selected, the style player plays only crash cymbals that are part of
the fill or the ending. For example, crash cymbals from a main pattern that are
used to fill up endings that do not start at the first beat are not played.
● If Main is selected, the style player plays only the crash cymbals of the main
pattern.
● If Off is selected, the style player leaves out all crash cymbals.
Hihat Mode
Specifies whether a pattern plays the hihat with all articulations, or only with the tip or
the shank articulation.
NOTE
● This setting is taken into account when you export a pattern by dragging the MIDI
export field to a MIDI track in your host application.
● External MIDI input is not affected by this setting, that is, you can play all
articulations.
Ride Mode
Specifies whether a pattern plays the ride cymbal with or without bell articulation.
NOTE
● This setting is taken into account when you export a pattern by dragging the MIDI
export field to a MIDI track in your host application.
● External MIDI input is not affected by this setting, that is, you can play all
articulations.
RELATED LINKS
Playing back Pattern Pads on page 14
51
Working With Pads
Pattern Pads
Using the Style Player

If the Style Player is activated and a style is selected on the pop-up menu, you can assign intros,
fills, and endings to pattern pads by using the large dial in the Performance section.
● To do so, activate the pattern pad and set the dial to the intro, fill, or ending that you want to
use.
The pattern pad plays the selected part each time you trigger it.
NOTE
● Intros and endings are not affected by the parameters Halftime, Complexity, Auto
Complexity, Auto Fill, and Crash Mode.
● Fills are not affected by the parameters Halftime, Complexity, Auto Complexity, and Auto
Fill.
Converting Intros, Main Patterns, Fills, or Endings into MIDI Patterns

You can convert the selected part of a style to a MIDI pattern.
The conversion takes into account the playback parameters of a style, for example, Intensity,
Quantize, Swing, and Crash Filter and converts them into MIDI events in the MIDI pattern. The
resulting MIDI pattern for the main pattern of a style also reflects the set Complexity.
NOTE
Auto Complexity and Auto Fill are not taken into account.
You can convert styles on the Agent page or on the Overview page.
PROCEDURE
1. In the Style Player page, select the part of the style that you want to convert, that is, main
pattern, intro, fill, or ending that you want to convert.
2. Set up the playback parameters, and click Convert Style to MIDI Pattern.
When converting the Main part of a style, all performance settings, such as Auto
Complexity, Auto Fill, Quantize, etc. are taken into account. For example, if Auto Fill is set
to 2 and the Main part is 4 bars long, the converted MIDI pattern will contain a fill on bar 2
and another one on bar 4. If Auto Fill is set to 4, only the last bar will be a fill.
RESULT
The style is converted into a MIDI pattern and the MIDI Player is automatically shown on the
Agent page.
NOTE
Once you have converted a part of a style into a MIDI pattern, it cannot be used in the Style
Player any longer.
52
Working With Pads
Pattern Pads
Pad Settings
To display the pad settings below the MIDI Player or the Style Player, activate Show Pad Settings
at the top right of the Agent page.
The pad settings are part of the kits, that is, they are replaced when you load a new kit.
Exclusive
Activates/Deactivates exclusive playback for a pad. Triggering an exclusive pad stops
playback of the current pattern, according to the set Trigger Mode. Pads for which this
button is not activated can play simultaneously with other patterns.
If Exclusive mode is activated for a pad, this is indicated by an icon in the upper left
corner of a pad.
Play Mode
● To play a pattern for as long as you hold down a key, select Hold.
● To start and stop playback with the trigger note for a pad, select Toggle.
Toggle mode is best used for live performances. Otherwise, it can lead to
unpredictable results, for example, when stopping and restarting playback in the
host application or when locating to another position during playback.
● To play a pattern completely to its end, select One Shot. In this mode, note-off
events are ignored. Playback stops automatically at the end of the pattern. To
make sure that the pattern plays from start to end, deactivate Sync to Beat.
Trigger Mode
Determines whether a pattern starts to play immediately, at the next beat, or at the
next full measure.
Sync to Beat
If Sync to Beat is activated, triggering a pattern starts the pattern in sync with any
other patterns that are playing. For example, if you trigger a pattern and trigger the
next pattern after 3 beats, this pattern starts playing at beat 3. If Sync to Beat is
deactivated, the second pattern starts from the beginning.
Velocity Mode
Specifies how the velocity of the notes that you play affects the notes of the pattern.
● If Original is selected, the notes of the pattern are played with the velocity that is
saved with the pattern.
● If As Played is selected, the notes of the pattern are played with the velocity that
you are playing on the keyboard.
● If Original + As Played is selected, the pattern velocity is determined by the
combination of the velocity saved with the pattern and the velocity of your playing.
53
Beat Agent SE
Beat Agent SE is a full beat production instrument with all the tools and sounds to create
amazing beats for any electronic or urban music genre.
Many amazing sounding drum kits are included, alongside all the advanced features that you
need to edit existing kits and create your own ones.
Beat Agent SE also excels in manipulating samples and loops, with features like automatic loop
slicing, an onboard FX rack, and much more.
Beat Agent SE Sound Editing

On the Edit page for instrument pads, you set up the sound of the kits.
● To open the Edit page, click the Edit button in the upper section of the plug-in panel.
The Edit page contains the Main, Pitch, Filter, Amp, Sample, Slice, and MIDI FX tabs.
Absolute and Relative Editing

When editing multiple samples, you can either change values absolutely for all the samples (ABS)
or make relative changes (REL), depending on the setting of the corresponding button on the
toolbar.
● If you use absolute editing and you change a parameter from 50 % to 60 % for one sample,
all other samples are also set to 60 %.
● If you use relative editing and you change a parameter from 50 % to 60 % in one sample,
another selected sample that was set to 70 % is set to 80 %.
54
Beat Agent SE
NOTE
Relative changes can be made for all parameters that can be adjusted continuously. Changes of
parameters that select one of multiple modes or switch between two states are always absolute.
RELATED LINKS
Multi Selection and Parameter Controls on page 6
Showing Information About the Pads

Below the pads in the pad section, you can find two buttons that allow you to show more
information on the instrument pads.
Show Pad Info

Activate Show Pad Info to show the pad number, the number of samples, and the
output on the pads.
Show Exclusive Groups

Activate Show Exclusive Groups to show the exclusive group settings for the pads. If
you move the mouse over a pad that belongs to an exclusive group, all pads that
belong to the same exclusive group are highlighted. If a hidden pad group contains
pads that belong to the same exclusive group, a red LED above the group button lights
up.
Locking Color and Output Settings

Locking the color and output settings for the pads allows you to switch between different kits
while keeping these settings.
PROCEDURE
1. Click the Lock Options button below the pads.
2. On the context menu, specify the parameters that you want to lock for the pads.
If at least one of the parameters is locked, the button lights up.
Editing Selected Samples or All Samples

You can apply your editing either to the selection (SEL) or to all samples of the pad (PAD),
depending on the setting of the corresponding button on the toolbar.
Assigning Samples to Pads

You can assign samples to pads by using drag and drop, or replace existing samples using the
mapping view context menu.
You can drag one or more samples from the File Explorer/macOS Finder and from your host
application onto Groove Agent SE. Samples can be mapped to the same pad, or to different pads.
● To assign a sample to a pad, drag it onto the pad.
You can drag files from the following locations of the host application:
55
Beat Agent SE
● MediaBay
● Project window
● Pool
● Sample Editor (regions)
● Audio Part Editor
● LoopMash slices
When you drag one or more samples onto a pad, the drop icons are shown. These determine
whether the samples are added to the pad, whether the current sample is replaced with the one
you are dragging, or whether the samples that you drag are assigned to multiple consecutive
pads.
● Drag samples to the topmost drop icon to add them to the pad.
You can assign up to 32 samples to a pad.
● Drag one or more samples to the middle drop icon to replace the currently assigned samples
with the ones that you are dragging.
● Drag several samples to the lowest drop icon to assign them to several consecutive pads in
one or in several groups.
A yellow border is shown around the pads that receive one of the samples.
NOTE
How many samples can be dropped to several pads depends on the number of available
pads.
If Groove Agent SE cannot supply a sufficient number of free pads for the number of
dropped samples, a dialog is displayed, allowing you to proceed or cancel the operation. If
pads already contained samples, these are replaced.
RELATED LINKS
Mapping View on page 59
Moving and Copying Samples between Pads

You can be move and copy samples between pads, and even between different pad groups,
using drag and drop.
● To move the samples from one pad to another pad, drag the pad onto the destination pad.
Depending whether you drag it onto the top, middle, or bottom drop icon, the samples are
added to the samples on the destination pad, or they replace any samples on the destination
pad, or they are inserted onto the destination pad and the following pads.
56
Beat Agent SE
NOTE
To copy the samples instead of moving them, keep Alt/Opt pressed when dragging the
samples.
NOTE
When you copy pads that are part of a sliced loop, they are pasted as normal instrument
pads, that is, they are no longer related to the loop.
Moving and Copying Samples between Groups

To move or copy the samples to pads in another group, drag the samples on the group button
first to show the group, and then to the new pad.
The options are the same as when moving samples between pads of the same group.
Moving Sliced Loops

You can move sliced loops with one drag and drop operation.
● Drag the first slice of the loop and move it onto the pad section.
When you start dragging, Groove Agent SE shows the pads on which the sliced loop can be
dropped, that is, the pads that are followed by enough empty pads to insert all the slices.
Pads on which the loop cannot be dropped are grayed out.
● Drop the slice on the pad from which you want to start inserting slices.
Assigning Samples to Outputs

You can assign the output of an instrument pad to one of the available output busses. This allows
you to apply external effect plug-ins to your samples or apply internal effects to the samples on a
single pad, for example.
To apply your external effect plug-ins, assign the pad to one of the plug-in outputs. This allows
you to edit the signals from this output in the MixConsole of your Steinberg DAW, for example.
To apply the internal effects on the samples of an instrument pad, assign it to one of the Beat
Agent SE busses and add effects to this bus in the Agent mixer.
Removing Samples From Pads

● To remove a sample from a pad, right-click it and select Remove Sample from the context
menu.
● To remove all samples of a pad, right-click one of the samples and select Remove Selected
Samples.
NOTE
If the PAD/SEL button is set to PAD, you cannot select individual samples and Remove Selected
Samples removes all samples of the pad.
57
Beat Agent SE
Changing the Order of Pads

By default, instrument pads are sorted chromatically, based on the standard mapping. However,
in some cases, you may want to display pads from other groups within a particular group.
Therefore, you can exchange the position of pads.
For example, often a second bass drum is mapped to B0, which can be found in pad group 2.
Most of the other common drum kit instruments are, however, located in group 3. If you want to
see the second bass drum together with the other instruments of group 3, exchange the B0 pad
with an unused pad in group 3.
● To exchange two pads, hold down Shift and drag one pad onto another pad.
This exchanges the entire contents of the pads with all their settings.
● To see whether the order of the pads differs from the standard sorting, you can either check
the trigger notes of the pads to see whether they are mapped chromatically or not, or you
can click the Info button to see the pad index of all pads.
● To reset the order of all pads to a chromatic order, open the context menu for a pad and
select Reset Pad Order.
Saving Beat Agent SE Instruments

You can save Beat Agent SE instrument pads with all their settings as separate instruments.
PROCEDURE
1. Set up the instrument pad to your liking.
2. Right-click the pad and select Save Instrument.
RESULT
The pad is saved as a separate instrument and can be accessed via the Instruments tab on the
Load panel.
Loading Beat Agent SE Instruments

You can load your saved instruments to an instrument pad. This is useful if you want to reuse
your pads, or use them as basis for other instruments.
PROCEDURE
1. On the Load panel, open the Instruments tab.
2. Navigate to the instrument that you want to use.
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3. Optional: Use the Prelisten controls below the results list to listen to the instruments.
This helps you to find the instrument that works best in your current context.
4. When you have found the instrument that you want to use, double-click it or drag it onto the
instrument pad.
NOTE
You can also load instruments via the pad context menu.
Mapping View
The mapping view shows the sample mapping of the selected pad.
You can replace and remove samples in the mapping view and adjust their velocity ranges. The
focused sample is displayed in a lighter color.
NOTE
The mapping view always shows the velocity ranges, even if they are not used to trigger samples.
RELATED LINKS
Main Tab on page 61
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Beat Agent SE
Editing the Mapping of a Pad

A pad can contain up to 32 samples.
● You can add samples by dropping them onto the mapping view. They can be inserted
between two other samples, behind the last sample, or in front of the first sample. This is
indicated by a red insert line.
● To replace a sample, drag a new sample onto an existing sample. Which sample will be
replaced is indicated by a red frame.
● To change the order of the samples, drag them to a new position.
● To map a sample to another pad, drag it onto the pad.
This removes the sample from the current pad. To map the sample to another pad without
losing the current mapping, hold down Alt/Opt while dragging.
● To change the velocity range, select a sample in the mapping view and enter new values in
the Hi and Lo fields on the right or position the mouse between two samples, so that a
double-arrow is shown, and drag to the left or right.
NOTE
Changing the velocity range of a sample automatically adapts adjacent samples, that is,
velocity ranges cannot overlap.
Replacing Samples
You can replace individual samples in the mapping view with other samples on your hard disk.
PROCEDURE
1. Right-click the sample and select Replace Sample from the context menu.
2. In the file dialog, navigate to the file that you want to use instead, select it, and click Open.
RESULT
The sample is replaced.
Mapping View Context Menu

The commands on the mapping view context menu allow you to manage the samples that are
used on the pads.
NOTE
You can only apply the context menu commands to individual samples if the Edit Selected
Samples or Pads button is set to SEL . Otherwise, the entire pad content is affected.
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Beat Agent SE
Replace Sample
Allows you to replace the focused sample.
Cut Samples
Cuts the selected samples to the clipboard.
Copy Samples
Copies the selected samples to the clipboard.
Paste Samples
Pastes the samples from the clipboard to the focused pad. The pasted samples are
inserted after the selected sample on the destination pad. All samples are evenly
distributed over the velocity range.
NOTE
You can copy and paste samples between the pads of a kit, but also between different
kits and even between different Groove Agent SE instances.
Remove Samples
Removes the selected samples.
Main Tab
The Main tab gives you access to the sample mapping of the pad as well as to the most
important parameters.
The Main tab shows a simplified sample editor. You can adjust the sample start and end
markers, the fade-in and fade-out markers, and the fade curves in the display.
Mode
Determines the trigger mode for the samples of a pad:
● In Velocity mode, the incoming velocity determines which sample is played.
● In Layer mode, all samples are played at the same time, regardless of their
velocity.
● In Round Robin mode, the samples are played repeatedly one after the other,
from left to right.
● In Random mode, samples are played randomly. Repetitions can occur.
● In Random Exclusive mode, samples are played randomly, but repetitions are not
allowed.
Poly
Sets the maximum polyphony of a pad. For example, if this is set to 4, you can trigger a
pad 4 times before notes are stolen.
NOTE
The polyphony value represents the number of notes that can sound simultaneously,
therefore triggering layered samples on a pad may lead to a much higher number of
actual sample voices.
Fade
Specifies the time it takes for a voice to fade out when voices are stolen.
NOTE
You can specify different fade settings for the different samples of a pad.
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Exclusive Group
This allows you to assign a pad to one of 32 exclusive groups. Pads within a group are
never played back simultaneously. When a new note is played, the previous note stops.
Volume
Sets the level of the sample.
Pan
Sets the position of the sample in the stereo panorama.
Coarse
Adjusts the tuning in semitones.
Fine
Adjusts the fine tuning in cents.
Cutoff
Controls the cutoff frequency of the filter.
NOTE
Cutoff, Resonance, and Distortion are only available if a filter is used.
Resonance
Sets the filter resonance.
Distortion
Sets the amount of distortion. The effect of this parameter depends on the selected
filter mode.
Output
The output to which the samples are routed. The following outputs are available:
● The Kit Mix.
NOTE
NOTE
These outputs can all contain insert effects.
Playback Quality
Sets the quality.
● Standard: Select this mode to play back the samples with their original bit depth
and sample rate.
● Vintage: Select this mode to emulate the sound quality of early 12-bit drum
machines. The detuning of the samples produces the typical aliasing effect. The
sample rate is limited to 26040 Hz.
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● Turntable mode is similar to Vintage mode. The samples are played with 12bit/
26040 Hz. Use this mode to emulate the typical workflow of hip hop producers.
Because the first digital drum machines only had a very limited amount of RAM,
turntables were sampled at a speed of 45 RPM instead of 33 1/3 RPM. This way,
more samples could be saved into the available RAM. During playback, the
samples were tuned down, to correct for the change in pitch. This added the
typical crunch and aliasing that the early drum machines are famous for.
NOTE
If Vintage or Turntable is selected for a sample, you cannot edit the sample using the
AudioWarp functions on the Sample tab. If you try to select one of these modes for a
sample that uses AudioWarp, a warning message is displayed.
Filter Type
Sets the filter type. You can choose between Classic, Tube Drive, Hard Clip, Bit
Reduction and Rate Reduction.
To deactivate the filter, select Off.
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 and
● HP6 + LP18 and HP6 + LP12 are combinations of a high-pass filter with 6 dB/oct
and a low-pass filter with 18 and 12 dB/oct, respectively (asymmetric band-pass
filter). Frequencies below and above the cutoff are attenuated. Attenuation is more
pronounced for the frequencies above the cutoff.
● HP12 + LP6 and HP18 + LP6 are combinations 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 around
the cutoff are attenuated.
● BR12 + LP6 and BR12 + LP12 are combinations of a band-reject filter with 12 dB/oct
and a low-pass filter with 6 and 12 dB/oct, respectively. Frequencies around and
● 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 combinations of a high-pass filter with 6 and 12
dB/oct and a band-reject filter with 12 dB/oct. Frequencies below and around the
cutoff are attenuated.
● AP is an all-pass filter with 18 dB/oct. Frequencies around the cutoff are
attenuated.
● 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.
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Editing Envelopes
Beat Agent SE features pitch, filter, and amplifier envelopes. These envelopes are available on
the Pitch, Filter, and Amp tabs.
Each of these multisegment envelopes has up to 128 nodes, for which Time, Level, and Curve
parameters are available. The nodes and their parameters specify the shape of the envelope. You
can edit one or multiple nodes by dragging them in the graphical envelope editor or by entering
values manually. When editing an envelope node, a value tooltip displays the current settings of
the node.
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.
NOTE
Pitch envelope nodes also snap to semitone positions.
Guide Envelope
On this pop-up menu, you can select a second envelope to be displayed in the
background of the edited envelope.
● If Snap is activated, moved nodes snap to the guide envelope.
Fixed
● If Fixed is activated and you move selected nodes on the time axis, only the
selected nodes are moved.
● If Fixed is deactivated, all nodes that follow the edited nodes are also moved.
Show Channel Sum/Show Left Channel/Show Right Channel

With these buttons, you can show the sample waveform in the background of the
envelope display. Any editing you perform on the envelopes is automatically reflected
in the waveform.
● Show Channel Sum shows the mono sum of the sample in the display.
● Show Left Channel shows the left channel of the sample.
● Show Right Channel shows the right channel of the sample.
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 Node value field on the toolbar 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 the
Left Arrow and Right Arrow keys.
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Adjusting the Time between Nodes

The Time parameter specifies the period of time between two nodes. Depending on the Sync
mode, the Time parameter is displayed in milliseconds and seconds or in fractions of 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 a
node, 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 to
logarithmic 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.
Adding and Removing Nodes

CHOICES
● To add a node, double-click at the position where you want to add the node.
● To remove a node, double-click it.
● To delete several selected nodes, press Delete .
NOTE
● You cannot remove the first, the last, or the sustain node.
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Beat Agent SE
● All nodes added after the sustain node always affect the release phase of the envelope.
Adding Nodes Using the Fill Function

The Fill function allows you to add multiple envelope nodes after the selected nodes.
PROCEDURE
1. On the pop-up menu to the right of the Fill button, select the number of nodes that you
want to add.
2. In the graphical envelope editor, select the node after which you want to add nodes.
If several nodes are selected, the new nodes are inserted after the last selected node.
If Fixed is deactivated, the added nodes are placed with the interval specified by the Time
parameter of the selected node. If multiple nodes are selected, the interval is specified by
the focused node.
By activating Sync, you can specify the interval with the Sync note value. For example, if 1/4
is selected, new nodes are added at exact quarter note intervals.
If Fixed is activated, the added nodes fill the space between the last selected node and the
following one.
3. Click the Fill button.
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.
2. On 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 exactly match a note value are indicated by a red dot inside the handle of the
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 grid
shows normal note values.
You can also enter note values and triplets manually in the value field.
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Envelope Modes
On the Mode pop-up menu, you can select one of four envelope modes, to specify how the
envelope is played back each time you hit a key.
● Select Sustain to play the envelope 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. This mode is ideal for looped samples.
● Select Loop to play back the envelope from the first node to the loop nodes. Then, the loop is
repeated for as long as the key is held. When you release the note, the envelope continues
playing the stages that follow the sustain. This mode is ideal for adding motion to the sustain
of the envelope.
● Select One Shot to play the envelope from the first to the last node, even if you release the
key. The envelope has no sustain stage. This mode is ideal for drum samples.
● Select Sample Loop to preserve the natural attack of the sample. The decay of the envelope
does not start until the sample has reached the sample loop start.
If you set the second node to the maximum level and use the following nodes to shape the
decay during the loop phase of the sample, the envelope only affects the loop phase. The
attack of the envelope is still executed.
Setting Up the Loop

You can set up the envelope to repeat its playback between the selected nodes.
PROCEDURE
1. Set the envelope mode to Loop.
2. The loop is indicated by the green region in the graphical envelope editor. Specify the loop
start and end by dragging the borders of the region.
The loop region can only be set up in the decay phase of the envelope.
Pitch Tab
On the Pitch tab, you can set up the pitch envelope.
Polarity
You can switch the pitch envelope from unipolar to bipolar.
If the Polarity button is activated, the envelope is bipolar, which means that you can
modulate the pitch of the sample in two directions, higher or lower than the original
pitch. If the Polarity button is deactivated, the envelope cannot be set to values below
the original pitch.
Key Range
Activate this button to specify the key range of the sample, that is, the range over
which it is mapped chromatically to pads.
● Low Key specifies the first key for the mapping.
● High Key specifies the last key for the mapping.
If you deactivate the Key Range button, the Low Key and High Key fields are reset.
Fixed Pitch
● If Fixed Pitch is deactivated, the sample plays chromatically within the key range.
● If Fixed Pitch is activated, the sample plays with its original pitch on all of the keys
within the key range. This is useful if you want to layer a pad with the neighboring
pads, for example.
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Coarse
Adjusts the tuning in semitones.
Fine
Adjusts the fine tuning in cents.
Random
Determines how much the pitch of a sample is changed randomly with each note that
is played.
Env Amnt
Determines how much the pitch is affected by the pitch envelope.
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 and
how hard you hit a key. Positive values increase the level of the envelope the harder
you hit a key. Negative values decrease the level of the envelope the harder you hit a
key.
Time Velocity
Adjusts the influence of velocity on the phases of the envelope. Positive values
decrease the length of the phases for higher velocity values. Negative values increase
the length of the phases for higher velocity values.
Segments
Here, you can select which phases of the envelope are affected by the Time Velocity
parameter.
● Attack – The velocity affects the attack only.
● Attack + Decay – The velocity affects all phases until the sustain.
● Decay – The velocity affects all phases until the sustain but without the attack.
● Attack + Release – The velocity affects the attack and the release phases.
● All – The velocity affects all phases.
Level Velocity Curve

You can select the curve type to specify how the incoming velocity translates to the
level of the envelope. The characteristic of each curve is displayed by a small icon.
Pitchbend Up/Pitchbend Down

Determines the range for the modulation that is applied when you move the pitchbend
wheel.
MIDI Controller
Allows you to assign a MIDI controller that can be used to control the pitch of a sample.
This controller can be sent by the host application or by a hardware controller.
Hold
If Hold is activated, the pitch modulation via MIDI controller only uses the controller
value at the note-on time and keeps it. Any following controller changes have no effect.
Mapping Samples Chromatically over Multiple Pads

The Key Range settings on the Pitch tab allow you to map samples chromatically over multiple
pads.
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NOTE
If Edit Selected Sample or Pad (SEL) is activated, you adjust the key range for each sample
individually.
PROCEDURE
1. Set up the range with the Low Key and High Key value fields.
When you adjust the key range for chromatically mapped samples, the pads within the key
range inherit the name of the pad to which the original sample is assigned. The name is only
set if the corresponding pad does not have a name. The offset in semitones from the original
pad is added as suffix to the name. This helps you to find the original pad more easily.
2. Optional: Set up the Fixed Pitch parameter.
● If Fixed Pitch is activated, the sample is played with its original pitch on all the pads in
the key range.
● If Fixed Pitch is deactivated, the sample is played chromatically within the key range.
RESULT
The samples are mapped to the pads. An icon with two notes indicates which pads play a
chromatically mapped sample.
AFTER COMPLETING THIS TASK

The context menu of pads that contain chromatically mapped samples offers the Chromatically
Mapped from function, allowing you to locate the original pad for the mapped samples. The
original pad itself does not contain this function.
Filter Tab
The Filter tab allows you to adjust the tone color of the sound. The filter envelope controls the
cutoff frequency to shape the harmonic content over time.
Filter Type
Sets the filter type. You can choose between Classic, Tube Drive, Hard Clip, Bit
Reduction and Rate Reduction.
To deactivate the filter, select Off.
Filter Shape
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attenuated.
Cutoff
Controls the cutoff frequency of the filter.
Resonance
Sets the filter resonance.
Distortion
Sets the amount of distortion. The effect of this parameter depends on the selected
filter mode.
Velocity
This parameter determines the influence that velocity has on the cutoff frequency. If
Velocity is set to 0 %, the setting has no effect. At any other value, the cutoff frequency
changes with the velocity.
Env Amnt
Determines how much the filter is affected by the filter envelope.
Level Velocity
key.
Time Velocity
Segments
parameter.
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RELATED LINKS
Editing Envelopes on page 64
Amp Tab
Volume
Sets the level of the sample.
Pan
Sets the position of the sample in the stereo panorama.
AUX 1-4
Here, you can specify the signal level that is sent to the 4 integrated AUX FX channels.
Level Velocity
key.
Time Velocity
Segments
parameter.

Output
The output to which the samples are routed. The following outputs are available:
● The Kit Mix.
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NOTE
NOTE
These outputs can all contain insert effects.
Norm (Use Normalized Velocity)

● If you are working with normalized samples, keep this button deactivated.
● If you are using velocity-layered samples that are not normalized, activate this
button. Otherwise, you might create unrealistic level transitions between different
velocity layers when setting the Vel<Lev parameter.
Sample Tab
The Sample tab contains the Sample editor. The upper section of the tab shows the mapping
view and the waveform display and the lower section gives you access to all relevant sample
parameters.
Toolbar
The toolbar contains different tools for editing sample markers, loop markers, and slices.
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.
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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 is
played 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 the
audio. The playback direction and speed depend on how fast and how far you move
the mouse left or right from the position where you clicked.
Snap
If this button is activated, the selection start and end points and markers snap to other
markers.
Snap to Zero Crossing

If this button is activated, markers and selection start and end points are only placed at
zero crossings, that is, at positions in the audio where the amplitude is zero. This helps
you 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 the
original 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.
NOTE
If Loop Mode is deactivated when you activate Edit Loop, it is automatically set to
Continuous and the loop markers are placed at the start and end of the sample.
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.
Normalize Sample
Normalizes the sample by detecting the highest peak level in the sample and adjusting
the gain to reach a predefined level.
Normalize Level
Sets the level for the Normalize Sample function.
Revert to Full Sample

Undoes the trimming, so that the entire sample is restored.
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NOTE
After undoing the trimming, make sure to set the start/end markers to their original
positions, otherwise these parts are not played back.
Show Fades in Wave

Activate this button to show the effect of your fade settings directly in the waveform.
Show Channel Sum

Activate this button to show the sum of the left and right channels in the waveform
display.
Show Left Channel

Activate this button to show the left channel in the waveform display.
Show Right Channel

Activate this button to show the right channel in the waveform display.
Preview Volume
Click this icon to display a level slider. Keep the mouse button pressed and use the
slider to specify the level for previewing your samples.
NOTE
Preview Volume affects the Play Sample function and the Play tool.
Output
On this pop-up menu, you can specify to which plug-in output the Sample Editor sends
its signals.
This is especially useful if the Master output uses insert effects that you do not want to
hear while editing the samples.
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 from
the pop-up menu.
You can choose to display bars and beats, seconds, or samples.
Waveform Display and Level Scale

The waveform display shows the waveform image of the sample. 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.
● To display the half level axis, right-click in the waveform display and select the corresponding
option on the context menu.
Parameter Section
Velocity Start Range
Determines the influence of the velocity on the sample start. Move the start range
marker to the right to start the sample later for lower velocities. Maximum velocity
starts the sample at the original sample start.
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Key On Delay
With this parameter, you can delay the playback of the zone by a specified time or a
note value.
● To synchronize the delay time to the host tempo, activate the Sync button and
select a note value from the pop-up menu.
● To change the selected note value to a triplet, activate the T button.
If Sync is deactivated, the delay is specified in milliseconds. If Sync is activated, the
delay is specified in fractions of beats.
Loop Mode
Allows you to select a mode for the sustain loop and the release loop.
● If this is set to No Loop, the sample is played without loop.
● If this is set to Continuous, the loop is played continuously until the end of the
amplitude envelope.
● If this is set to Alternate, the loop alternates forward and backward even if you
release the key.
● If this is set to Once, the loop is repeated once.
● If this is set to Until Release (sustain loop only), the loop is repeated until you
release the key on the keyboard.
● If this is set to Alternate Until Release (sustain loop only), the loop alternates
forward and backward for as long as the key is held and then continues to the end
of the sample.
NOTE
If Loop Mode is set to Alternate or Alternate Until Release, the loop crossfade is
applied to the loop start and the loop end. All other modes on the Loop Mode pop-up
menu apply the loop crossfade only to the loop end.
Reverse
Reverses the sample, so that you hear it backwards.
Sample Start
The start marker of the sample.
Sample End
The end marker of the sample.
Link Sample Start and End

If this button is activated, moving the sample start also moves the sample end, and
vice versa.
Loop Start
Specifies where the loop begins. You can enter a value numerically or move the start
marker in the waveform display.
Loop End
Specifies where the loop ends. You can enter a value numerically or move the end
marker in the waveform display.
Link Loop Start and End

If this button is activated, moving the loop start also moves the loop end, and vice
versa.
Loop Crossfade
Specifies the time of the crossfade.
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The Curve parameter defines the curve of the crossfade, from linear to equal power.
Loop Tuning
Here you can adjust the frequency of the loop in cents.
Detune
Allows you to tune the sample by +/- 1200 cents.
Gain
Determines the level of the sample.
NOTE
When using the Normalize function, this parameter is set automatically.
Pan
Determines the panorama position of the sample.
AudioWarp Parameters
In the AudioWarp section, you can apply time stretching and formant shifting to your samples.
NOTE
The AudioWarp functionality is not available if the playback quality is set to Vintage or Turntable
on the Main tab.
Mode
On this pop-up menu, you select the mode that is used for the AudioWarp functions.
● Solo mode offers parameters for time stretching and formant shifting. This mode
is suitable for loops and samples with solo instruments or vocals.
● Music mode offers parameters for time stretching. This mode is suitable for
complex material like drum loops and samples with mixed music. It uses
considerably more CPU time than Solo mode. Note that the more the sample is
stretched, the higher the CPU load.
● Select Off to deactivate the AudioWarp functions.
Sync Mode
The Sync modes are used to match the playback speed of the sample to the tempo of
the host application.
● If this is set to Off, you can specify the playback speed manually, in percent.
● If this 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.
● If this 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.
NOTE
For the Sync modes to work properly, the loop of the sample has to be set up correctly.
In Tempo mode, the original tempo must be set as exactly as possible.
Speed
This control adjusts the playback speed of the sample in percent. You can speed up the
tempo by up to 800 % of the original. In Music mode, the lower limit of the playback
speed adjustment is 12.5 %. Values below this limit have no effect.
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Beat Agent SE
Original BPM
If Sync Mode is set to Tempo, you can enter the original tempo of the sample in beats
per minute. Groove Agent SE adjusts the playback speed of the sample to match the
tempo of the host application.
NOTE
If you load a sample that contains tempo information in the file header, this
information is used to set the Original Tempo parameter. If a sample does not contain
any tempo information, the value is estimated. You can modify the parameter values
manually.
Note Length and Number of Beats

If Sync Mode is set to Beats, Groove Agent SE calculates the tempo of the sample,
based on the note length and the number of beats you enter. For example, if the
sample is a drum loop with four quarter notes, set Note to 1/4 and Beats to 4. Groove
Agent SE adjusts the playback speed of the sample to match the tempo of the host
application.
NOTE
If you load a sample that contains tempo information in the file header, this
information is used to set the Note Length and Number of Beats parameters. If a
sample does not contain any tempo information, the values are estimated. You can
modify the parameter values manually.
Formant (Solo Mode Only)

Specifies the amount of formant shifting.
Markers
You can use a set of different markers to specify important positions in a sample.
Sample Start
Defines where the sample starts to play. Audio before this marker is ignored.
Sample End
Defines where the sample stops playing. Audio after this marker is ignored.
Loop Start
Defines where the loop starts.
Loop End
Defines where the loop ends.
Velocity Start Range

Defines the attack phase of a sample, which can be used for the modulation of the
sample start via velocity.
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Beat Agent SE
Creating Fades
● To create fades, drag the fade handles in the waveform display on the Sample tab or specify
the length for fade in and fade out on the Slice tab (if you created slices from the audio).
● To adjust the curvature, drag the fade line in the display up or down. To reset the fade curve
back to linear, hold down Ctrl/Cmd and click on the fade line.
NOTE
The fades directly influence sample playback. They are not part of the amp envelope.
Zooming
● To zoom in/out on the time and level axis, use the horizontal and vertical zoom sliders.
Vertical zoom slider

● The three buttons to the right of the horizontal zoom slider allow you 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 a 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 .
● You can 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.
View Range
When changing from one sample to another, you can specify which range to show in the
waveform display for the new sample.
These options can be found on the View Range submenu of the waveform display context menu.
Auto
Follows the visible view range of the previous sample.
Last
Each sample stores the visible range individually. When you select a sample again, its
view range is restored.
Full
Shows the entire sample.
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Beat Agent SE
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.
Auditioning Samples
You can play back the sample using the Play Sample icon on the toolbar.
The following applies:
● If you have not made a selection, the whole sample is played back.
● If you have made a selection, this selection is played back.
● If the Edit Loop icon is activated, playback continues repeatedly until you deactivate the
audition function.
Making Selections
● To make a selection, click and drag with the Range Selection tool.
NOTE
If Snap to Zero Crossing is activated, start and end of the selection are always placed at zero
crossings.
● To resize the selection, drag its left or right border, or Shift -click at the position where you
want the selection to start/end.
● To move a selection, position the mouse pointer inside the selection and drag.
Editing Selections
Once you have made a selection in the Sample editor, you can edit these selections further.
● To define the sample start and end from a selection, right-click in the Sample editor, and
select Selection > Set Sample Start/End to Selection.
● To define the loop from a selection, right-click in the Sample editor, and select Selection >
Set Loop to Selection.
● To assign a portion of a sample to another pad, position the mouse pointer inside the
selection, click and drag the selection to a new pad.
This assigns only the selected part of the sample to the pad.
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Beat Agent SE
NOTE
The sample portion that is assigned to the new pad still references the original sample, that
is, no new sample is created on disk.
Normalizing Samples
The Normalize function detects the highest peak level of the sample, and adjusts the gain to
reach a predefined level.
PROCEDURE
1. On the toolbar, in the Normalize Level field, specify the level that you want to normalize the
sample to.
2. Click Normalize Sample on the toolbar, or right-click the sample and select Normalize
Sample from the Sample submenu of the context menu.
RESULT
The Gain parameter of the sample is adjusted to conform with the predefined Normalize level.
The amplitude of the waveform in the Sample editor changes accordingly.
NOTE
If you adjust the gain of the sample, the amplitude of the waveform in the Sample editor
changes. This might be confounded with an adjustment to the vertical zoom of the waveform. To
get a better visual feedback, set the vertical zoom to the minimum before you adjust the gain.
To play back the sample at its original level, set the Gain parameter to 0.0 dB.
Trimming Samples
In the Sample editor, you can trim samples to the start and end markers, or to the selection.
● To trim the sample to the start and end markers, adjust the markers and click the Trim
button on the toolbar.
● To trim the sample to a selection, make a selection and click the Trim button on the
toolbar.
NOTE
The trim functions are also available on the context menu of the Sample editor.
All trim operations can be undone.
● To undo a trim operation, click the Revert to Full Sample button on the toolbar, or right-
click the sample and select Revert to Full Sample from the context menu.
NOTE
After undoing the trim functions, make sure to set the start/end markers to their original
positions, otherwise these parts are not included in the playback.
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Beat Agent SE
Slice Tab
On the Slice tab, you can slice audio loops and automatically map the slices to instrument pads.
During this process, a MIDI track is created and is associated with the first empty pattern pad.
After slicing a loop, you can play back the entire loop via the pattern pad or trigger individual
slices with the instrument pads.
Toolbar
The toolbar contains several tools that are also available on the Sample tab. In addition, the
following tools are available:
Play Slice
Activate Play Slice to play back slices when clicking on them.
Lock Slices
Activate Lock Slices to prevent slice markers from being moved. Locked slices are
shown with red markers.
Jump to Previous/Next Slice

Click the arrow buttons buttons to jump to the next/previous slice.
BPM
Displays the tempo of the loop, as read from the sample file or calculated from the
sample length.
You can adjust this value manually.
Bars/Beats
Shows the length of the sample found by the automatic tempo detection, in bars and
beats. You can adjust this value manually, which has an effect on the grid and the
tempo.
Parameter Section
Create/Remove Slices
Click this button to create slices for the selected loop. If slices exist, click this button to
remove them.
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Beat Agent SE
Slice Detection Mode

The slice detection automatically sets slice markers in the sample waveform. The
following modes for slice detection are available:
● Transient mode allows you to specify the minimum peak level that a transient
needs to become a slice marker.
● Grid mode sets the slice markers according to a beat grid.
You can combine the Transient and Grid modes to detect slices that match both
conditions.
● In Manual mode, no automatic slice detection is performed. Instead, you can add
and remove slices manually by Alt/Opt -clicking in the waveform.
Threshold
Determines the minimum level that a transient must have to be detected as the start of
a new slice.
Min Length
Determines the minimum length of a slice. Use this to avoid creating unwanted short
slices.
Grid Catch
In Transient+Grid mode, you can use this control to specify how close to the grid a
transient marker must be.
Fade In/Out
Sets the length of the fade in and the fade out for all slices of the loop.
MIDI Export Field

You can export the MIDI phrase by dragging the MIDI export field on a MIDI track in
your host application.
Slicing a loop
PREREQUISITE
To slice a loop, it is best to start with an empty kit.
NOTE
The maximum number of slices is 128. Therefore, it is recommended to start on a pad that is
assigned to a lower note, so that enough empty pads are available.
PROCEDURE
1. Drop the audio loop on the instrument pad that you want to start with.
2. Open the Slice tab and click Create Slices.
If the number of slices exceeds the number of available pads, some slices cannot be mapped
to instrument pads. These slices are shown in red in the waveform display. In this case, the
loop plays only with the length of the mapped slices.
3. Adjust the parameters on the Slice tab to create the best set of slices.
Any changes that lead to more or less slices will create slices on or remove slices from pads.
Adding and Removing Slices

● To add a slice marker, Alt/Opt -click in the editor.
● To remove a slice marker, Alt/Opt -click it.
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Beat Agent SE
Importing and Exporting Files
NOTE
The number of slices that can be created is limited to the number of available empty instrument
pads.
Importing MPC and GAK Files

You can import AKAI MPC 500 and MPC 1000 files and GAK files created in Groove Agent ONE
into Groove Agent SE.
You can import the files in the following ways:
● Drag a file from the File Explorer/macOS Finder onto the slot in the kit slot section or on the
kit name in the kit rack.
● On the context menu for the kit, select Import, select the file in the dialog, and click OK.
NOTE
When importing GAK files, you will be asked to specify the folder in which to save the included
files.
Importing REX Files and Sliced Loops

You can import REX files and sliced audio parts from Cubase/Nuendo into Groove Agent SE.
● To import a REX file or a sliced audio part into Groove Agent SE, drop it onto an empty pad.
The slices are automatically distributed across the pads, and a MIDI phrase is created and
assigned to the first empty pattern pad.
Once the file is imported, you can trigger the slices with the instrument pads, or play back the
entire loop by triggering the pattern pad.
Imported REX files and sliced audio parts are treated like audio loops that were sliced in Groove
Agent SE.
Pads that are part of the sliced loop display a loop icon. The pad that contains the first slice
displays a larger loop icon.
NOTE
If the number of available pads is not high enough to map all slices to pads, the slices that could
not be added are shown in red on the slice edit page. You can move pads using drag and drop to
free the necessary pads. As soon as enough pads are available, the slices that could not be
mapped are automatically added.
NOTE
If you import a REX file, the Slice Mode in the slice editor is automatically set to Manual, to
preserve the slice markers specified in the REX file. Note, however, that in some cases, the slices
saved in a REX file may not represent a useful audio loop.
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Beat Agent SE
Exporting Kits with Samples

Groove Agent SE kits can be exported together with the associated samples.
PROCEDURE
1. Right-click the kit in the kit bar and select Export Kit with Samples from the context menu.
2. In the dialog, specify a name and a location for the file.
RESULT
The kit file is created together with a folder containing the samples.
NOTE
Samples that are part of the protected factory content cannot be exported.
Finding Missing Samples

There might be situations where loaded programs cannot find the samples they use. This can
happen if the referenced samples are located on a different drive and the drive name has
changed, or because the program was created on a different computer system. If this happens,
the Find Missing Sample dialog opens
The dialog displays a list of all samples that are missing, with information regarding the format,
size, and creation date.
Search Path
Below the list of missing samples, you can enter the search path to find the missing samples.
Once you have specified the search path, click the Start Search button to start the search
process.
NOTE
All subdirectories are searched before the results are displayed, therefore, the search takes
longer if you specify entire drives.
If the search only finds a single result for each missing sample, the sample path is automatically
corrected in the program and the sample disappears from the Missing Files list. If all samples
are found, the dialog is closed.
If sample files with the same name are found in more than one location, an additional Found
Files list appears below the Missing Files list. This shows the available samples and their file
locations.
● To select a sample or a complete folder that is to be used to resolve the missing samples,
double-click it in the Found Files list.
Each sample or folder that is resolved this way disappears from the Missing Files list.
Favorite Search Paths

If a path might be helpful for future searches, you can add it to the search path list. The next time
the dialog opens, it allows you to select one or multiple predefined paths to specify which places
to include in the search.
● To add a path, click the + sign.
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Beat Agent SE
Search Options
By default, Groove Agent SE searches for samples that do not only have the same file name, but
also correspond in terms of time, size, and format information. A sample is considered “found”
only if all of the information is identical. However, you can exclude this information by activating
the Ignore File Time and Size and Ignore Audio Format and Length options.
If Automatically Start Search is activated, the search starts automatically when the dialog
opens. By default, this option is activated. However, if you want to specify the search path or
modify other options before starting a search, deactivate this option.
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Acoustic Agent SE
Acoustic Agent SE is a next-generation virtual acoustic drummer that offers first-class drum
sounds and an integrated player that creates the perfect accompaniment for your songs.
The style player can conjure different grooves in a wealth of genres including Blues, Punk, Hip
Hop, and Indie Rock – perfect for any contemporary music style. And you retain full control, both
over intensity and complexity of the style player’s drumming and over the sound, thanks to the
included Agent mixer.
Acoustic Agent SE Sound Editing

On the Edit page for instrument pads, you set up the sound of the kits.
● To open the Edit page, click the Edit button in the upper section of the plug-in panel.
● To show the parameters for a particular drum instrument, click on it. Depending on the
setting of the Mute Instrument Trigger on Editor button in the upper right corner of the
Edit page, this also previews the instrument.
● If a drum instrument is triggered, this is shown by the instrument turning dark.
Locking the Pad Colors

Locking the color settings for the pads allows you to switch between different kits while keeping
the color settings.
PROCEDURE
● To lock the color settings for the pads, activate Lock Pad Colors below the pads.
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Acoustic Agent SE
Instrument Preview
On the Edit page, you can specify whether you want to preview and select an instrument when
clicking on it, or whether you only want to select it and show its sound parameters.
● To preview an instrument when clicking on it, deactivate the Mute Instrument Trigger on
Editor button in the upper right corner of the Edit page.
Instruments that have multiple articulations play the standard articulation. For example, a
snare can be played open, with a rimshot, or with sidestick. For preview, the open
articulation is used. To trigger the other articulations, use the instrument pads.
● To select an instrument and show its settings when clicking on it, activate Mute Instrument
Trigger on Editor.
Sound Parameters
If you click on an instrument on the Edit page, its sound parameters are available at the bottom
of the panel. Each instrument has its own set of parameters.
Groove Agent SE comes with different content sets. These content sets feature different sets of
drum instruments with different parameters and mixer channels.
Studio Kit SE
Kick Drums
Room Level
Adjusts the level of the room microphone.
Overhead Level
Adjusts the level of the overhead microphone.
Bleed
Adjusts how much the kick drum bleeds into the snare bottom microphone.
Tune
Adjusts the pitch.
Attack
Adjusts the attack time of the amplifier envelope.
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Acoustic Agent SE
Hold
Adjusts the hold time of the amplifier envelope. Turn the control all the way to the right
to play the entire sample.
Decay
Adjusts the decay time of the amplifier envelope.
Snare Drums
Room Level
Overhead Level
Master Bleed
Adjusts how much the kick and the toms bleed into the snare bottom microphone. This
control serves as master control by attenuating the snare bottom samples of the kick
and toms.
Tune
Adjusts the pitch.
Attack
Hold
Decay
Toms
Room Level
Overhead Level
Bleed
Adjusts how much the tom bleeds into the snare bottom microphone.
Tune
Adjusts the pitch.
Attack
Hold
Decay
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Acoustic Agent SE
Cowbell
Room Level
Overhead Level
Tune
Adjusts the pitch.
Attack
Hold
Decay
Tambourine
Room Level
Overhead Level
Attack
Hold
Decay
Claps
Room Level
Attack
Hold
Decay
Single, Small Group, Large Group

Determines whether the D#1 key triggers a single clap, or claps from a small or a large
group.
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Acoustic Agent SE
Crash Cymbals A/B, Splash Cymbal, China Cymbal

Room Level
Overhead Level
Choke On/Off
A choke effect for cymbals is created by hitting a cymbal, and then grabbing it with the
hand, dampening the sound. If Choke is activated, you can choke a cymbal using poly
pressure, aftertouch, or note-off events.
Choke Controller
Specifies which MIDI event triggers the choke for the cymbal.
● Note-off: To play the cymbal, hit the key and hold it. To choke the cymbal, release
the key.
● Aftertouch: To play the cymbal, trigger the corresponding note. To choke the
cymbal, send an aftertouch event that is greater than 64.
● Poly Pressure: To play the cymbal, trigger the corresponding note. To choke the
cymbal, send a poly pressure event that is greater than 64.
Ride Cymbal
You can play the ride cymbal with the shoulder of the stick on the bell of the cymbal, with the tip
of the stick on the bow of the cymbal, or you can hit the cymbal on the edge for a crash sound.
Room Level
Overhead Level
Bow
Adjusts the level of the Bow articulation that is triggered with D#2.
Bell
Adjusts the level of the Bell articulation that is triggered with F2.
Edge
Adjusts the level of the Edge articulation that is triggered with B2.
Hihat
Controller Filter
The open state of the closed hihat on A#1 and the shank hihat on A#0 can be
controlled with MIDI controller #1 (modulation wheel) or with MIDI controller #4 (foot
controller). Use these buttons to filter out any incoming MIDI data for controllers #1 or
#4.
For example, activate MW to avoid that any incoming MIDI controller #1 is received
from your MIDI keyboard.
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Acoustic Agent SE
Room Level
Overhead Level
Shank, Tip, Foot

You can play the hihat with the shoulder of the stick on the edge or with the tip of the
stick on the bow of the hihat. When you close the hihat, it produces a foot chick. You
can adjust the level for each of these articulations.
● Shank adjusts the level of the shank hihat articulation that is triggered with F#0
and A#0.
● Tip adjusts the level of the tip hihat articulation that is triggered with F#1 and A#1.
● Foot adjusts the level of the foot and pedal hihat articulation that are triggered
with G#0/G#1 (Foot) and A0/A-1 (Pedal).
Hihat Open Min/Max

These controls adjust the minimum and the maximum opening state of the hihat, that
is, they specify how much the hihat can be opened or closed with the corresponding
hihat controller.
The Kit SE
Kick Drum
Room Level
Overhead Level
Tune
Adjusts the pitch.
Attack
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Acoustic Agent SE
Hold
Decay
Snare Drum
Room Level
Overhead Level
Tune
Adjusts the pitch.
Attack
Hold
Decay
Toms
Room Level
Overhead Level
Tune
Adjusts the pitch.
Attack
Hold
Decay
Crash Cymbals, Splash Cymbal, China Cymbal

Room Level
Overhead Level
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Acoustic Agent SE
Choke On/Off
A choke effect for cymbals is created by hitting a cymbal, and then grabbing it with the
hand, dampening the sound. If Choke is activated, you can choke a cymbal using poly
pressure, aftertouch, or note-off events.
Choke Controller
Specifies which MIDI event triggers the choke for the cymbal.
● Note-off: To play the cymbal, hit the key and hold it. To choke the cymbal, release
the key.
● Aftertouch: To play the cymbal, trigger the corresponding note. To choke the
cymbal, send an aftertouch event that is greater than 64.
● Poly Pressure: To play the cymbal, trigger the corresponding note. To choke the
cymbal, send a poly pressure event that is greater than 64.
Ride Cymbals
You can play the ride cymbals with the shoulder of the stick on the bell of the cymbal, with the tip
of the stick on the bow of the cymbal, or you can hit the cymbal on the edge for a crash sound.
Room Level
Overhead Level
Bow
Adjusts the level of the Bow articulation that is triggered with D#2.
Bell
Adjusts the level of the Bell articulation that is triggered with F2.
Edge
Adjusts the level of the Edge articulation that is triggered with B2.
Hihat
Room Level
Overhead Level
Shank, Tip, Foot

You can play the hihat with the shoulder of the stick on the edge or with the tip of the
stick on the bow of the hihat. When you close the hihat, it produces a foot chick. You
can adjust the level for each of these articulations.
● Shank adjusts the level of the shank hihat articulation that is triggered with F#0
and A#0.
● Tip adjusts the level of the tip hihat articulation that is triggered with F#1 and A#1.
● Foot adjusts the level of the foot and pedal hihat articulation that are triggered
with G#0/G#1 (Foot) and A0/A-1 (Pedal).
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Acoustic Agent SE
Controller Filter
The open state of the closed hihat on A#1 and the shank hihat on A#0 can be
controlled with MIDI controller #1 (modulation wheel) or with MIDI controller #4 (foot
controller). Use these buttons to filter out any incoming MIDI data for controllers #1 or
#4.
For example, activate MW to avoid that any incoming MIDI controller #1 is received
from your MIDI keyboard.
Hihat Open Min/Max

These controls adjust the minimum and the maximum opening state of the hihat, that
is, they specify how much the hihat can be opened or closed with the corresponding
hihat controller.
94
Mixing and Effect Handling
You perform your mixing operations on the Mixer page.
Each agent has a dedicated Agent mixer. In addition, the AUX mixer, the Kit mixer, and the
Master mixer are available. The order of the mixer tabs on the page represents the signal flow.
Beat Agent SE Mixer

The Agent mixer of Beat Agent SE offers 16 busses.
You can access the busses via the numbered buttons at the top. Click the buttons 1, 2, 3, or 4 to
display the busses 1 to 4, 5 to 8, 9 to 12, and 13 to 16, respectively.
By default, the output of the Agent mixer busses is routed to the Kit Mix, but you can also assign
the busses to the plug-in outputs.
In the top right corner of the Agent mixer, you can find the global Mute and Solo buttons.
● To reset all Mute buttons of the Agent mixer, click the global Mute button.
● To reset all Solo buttons of the Agent mixer, click the global Solo button.
Channel Parameters
The channel strips have the following parameters:
Level
Adjusts the volume of the channel.
Pan
Defines the position of the sound in the stereo panorama.
Mute
Mutes the channel.
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Acoustic Agent SE Mixer
Solo
Soloes the channel and mutes all other channels. Several channels can be soloed at the
same time.
Peak Level
Indicates the highest level on the bus.
● To reset the peak level, click the text field.
Insert Effect Slots

You can use the slots on the right of the channel strip to add insert effects to the bus.
Bus Name
At the bottom of a channel strip, the name of the bus is displayed.
● To rename a bus, double-click its name and enter a new name.

The Agent mixer for Acoustic Agent SE kits allows you to perform the mixing of these kits.
Different content sets feature different sets of drum instruments, therefore, the available
channel strips in the mixer vary with the kits.
In the top right corner of the Agent mixer, you can find the global Mute and Solo buttons.
● To reset all Mute buttons of the Agent mixer, click the global Mute button.
● To reset all Solo buttons of the Agent mixer, click the global Solo button.
Groups
The left section of the mixer contains dedicated group channels for each of the instruments used
in the kit.
Room and Overhead Microphones

The Room/OH tab contains channels for the room and the overhead microphones.
If you are using a kit from the “The Kit SE” content set, the following applies:
The room channel is recorded using a compressed pressure zone microphone (PZM). You can
deactivate the Room channel with the button below the Mute button. This reduces the processor
load.
96
Kit Mix Channel

The Kit Mix tab contains the channel strip for the Kit Mix output.
For the Kit Mix output channel, you can add a Tube Saturator effect.
● To activate the Tube Saturator effect, click its On/Off button.

● To change the effect sound, adjust the Drive parameter.
Channel Parameters
The channel strips in the mixer contain a set of parameters. Some channel strips, such as the
Room and Overhead channel strips, have additional controls.
Level
Adjusts the volume of the channel.
Pan
Defines the position of the sound in the stereo panorama.
Mute
Mutes the channel.
Solo
Soloes the channel and mutes all other channels. Several channels can be soloed at the
same time.
Peak Level
Indicates the highest level on the bus.
● To reset the peak level, click the text field.
AUX Sends 1-4

Use these controls to send the signal to the corresponding AUX busses of the agent.
Output
By default, the output of the Agent mixer busses is routed to the Kit Mix, but you can
also assign the busses to one of the plug-in outputs and to the AUX FX 1 to 4.
● Click the Output field to open the pop-up menu with the available outputs.
Width (Room and Overhead channel strips only)

Adjusts the stereo width of the signal from mono to stereo.
Room Channel On/Off (Room channel strip only)

Kits from the “The Kit SE” content set have an On/Off button below the Mute button
that allows you to deactivate the Room channel and unload its samples from memory.
This reduces the processor load.
97
Agent Mixer Equalizer and Effects

In the lower section of the Agent mixer, you can make equalizer and effect settings for the
groups.
If a channel strip is selected, the section below the mixer channels shows the insert effects for
this channel. The order of the effects can be modified by dragging the tabs. To show the
parameters of an insert effect, select the corresponding tab.
● To activate an insert effect, click the corresponding On/Off button.
Each channel offers an equalizer, a vintage compressor, a tape saturator, and an envelope
shaper for the insert effects. These effects correspond to the included effect plug-ins of the same
name.
RELATED LINKS
Studio EQ on page 106
Vintage Compressor on page 122
Tape Saturator on page 112
Envelope Shaper on page 128
Mixer Presets
You can create mixer presets for Acoustic Agent SE. These presets contain all Agent mixer, AUX
mixer, and Kit mixer settings for the loaded kit.
Mixer presets can only be applied to the kit they were saved for, because the number of used
instruments and mixer channels varies between the kits. Each kit comes with its own set of
presets.
The controls for loading, saving, and deleting mixer presets can be found to the left of the
ROOM/OH tab.
Mixing Your Kits in Your Steinberg DAW (not in Cubase AI and

Cubase LE)
You can perform the mixing of an Acoustic Agent SE kit in the MixConsole of your Steinberg
DAW rather than in Groove Agent SE. You can either start from scratch or use the mixer settings
from Groove Agent SE as a starting point.
PREREQUISITE
NOTE
You need version 10 or higher of Cubase or Nuendo to benefit from the complete mixer export
functionality.
PROCEDURE
● Right-click the kit in the Kit Rack and select Export Mixer to Cubase/Nuendo or Export
Mixer and FX to Cubase/Nuendo.
Now, the following happens:
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AUX Mixer
● For all Groove Agent SE group channels, such as Kick or Snare, corresponding group
channels are created in your Steinberg DAW.
● Instrument channels, such as Kick Main, Kick Add, etc. are routed to individual plug-in
outputs. These connections create the corresponding MixConsole channels in your
Steinberg DAW.
● In the DAW, the instrument channels are routed to the group channels, following the
original Groove Agent SE mixer structure. For example, Kick Main and Kick Add are
routed to the Kick group channel.
● If you selected Export Mixer and FX to Cubase/Nuendo, all Groove Agent SE channel
strip effect settings and equalizer settings are transferred to the DAW.
NOTE
The Q settings in the DAW differ slightly from the Groove Agent SE equalizer settings,
but they are recreated as close as possible.
● The Kit Mix channel is added as a group channel and all instrument group channels and
channels, such as Room, Overhead, etc. are routed to it.
RESULT
The Groove Agent SE Agent mixer is recreated completely in the DAW. In Groove Agent SE, the
mixer is deactivated and all mixing is now performed in the DAW.
NOTE
● If you want to reactivate the Acoustic Agent SE mixer, you must reload the original kit or use
Revert to Last Saved Kit on the kit context menu.
AUX Mixer
The AUX mixer features 4 AUX busses that can be used to realize classic send effects.
Each bus hosts up to 4 insert effects, which allows you to set up complex effects. The busses can
be routed to the Master output of the plug-in or to one of the individual outputs. Each kit slot has
its own AUX mixer. This means that you can use different Reverb send effects for the different
slots, for example. All settings of the AUX mixer are saved in kit presets.
Parameters
Output
On this pop-up menu, you can select one of the 16 available outputs for the AUX bus or
you can route the signal to the Kit mixer.
Level
Allows you to set the level of the AUX bus.
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Kits Mixer
Pan
Sets the position of the AUX bus in the stereo panorama.
Mute
Mutes the AUX bus.
Effect Slots
You can use the 4 slots on the right of each channel strip to add insert effects to the
slot.
Kits Mixer
The Kits mixer contains the channel strip for the bus that is assigned to the kit slot.
Parameters
Output
On this pop-up menu, you can select one of the 16 available outputs.
Level
The level fader allows you to adjust the volume of the slot.
Pan
Sets the position of the slot in the stereo panorama.
Mute
Mutes the slot.
Solo
Solos the slot.
Meter
The meters of the mixer channel show the output level of the kit.
Peak Level Meter

The meter indicates the highest level on the bus in dB. To reset the peak meter, click on
the value field.
Effect Slots
You can use the 4 slots on the right of the channel strip to add insert effects to the slot.
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Master Mixer
Master Mixer
The Master mixer shows the channel for the Master stereo output bus. It can host up to four
insert effects that can be used to add a global EQ or compressor to the signal chain, for example.
Level
Allows you to set the level of the Master bus.
Effect Slots
You can use the effect slots on the right to add insert effects.
Effect Handling
Groove Agent SE features four AUX busses that can be used to realize classic send effects. Each
bus hosts up to four insert effects, which allows you to set up complex effects. The busses can be
routed to the Master output of the plug-in or to one of the individual outputs.
The Kit Mixer provides access to the mixer channel of the kit which also features four inserts.
Furthermore, the Mixer provides access to the Master output bus. This can be used to add a
global EQ or compressor to the signal chain, for example.
Default Effect Settings

Each effect comes with factory default settings. However, you can save your own default settings
for each effect as a preset.
● Set up the effect.

● Click the Save Preset button in the title bar of the effect section and save the preset under
the name “--Default--”.
The preset is saved in the presets folder of the effect and is loaded each time you load the effect.
● To return to the factory default settings, delete your default preset.
Using the Insert Effect Slots

On the Mixer page, you can set up insert effects for the kit channel and the AUX busses.
Each bus provides four slots for insert effects.
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Effect Handling
● To assign an insert effect, click the effect slot and select the effect from the menu.
● To remove an insert effect including its current settings, click the effect slot and select None
from the menu.
● To bypass an effect, activate the Bypass button of the slot. Bypass is active when the button
lights up.
● To edit an insert effect, click the e button of the corresponding slot. You can edit only one
effect at a time. The parameters of the insert effect are displayed in the bottom section.
● To move an effect to another slot, click its drag icon and drag it to another slot. This replaces
any effect loaded in this slot.
● To change the order of the effects, drag them by their drag icon to a new position between
two slots.
● To copy an effect into another slot, Alt/Opt -click its drag icon and drag it onto the new slot.
This replaces any effect loaded in this slot.
NOTE
You can also copy effects between the different mixers. First drag an effect to the
corresponding mixer tab. Then drag it to the position where you want to insert it.
● To copy an effect and insert it between two effect slots, Alt/Opt -click its drag icon and drag
it between two slots.
NOTE
You can also copy effects between the different mixers. First drag an effect to the
corresponding mixer tab. Then drag it to the position where you want to insert it.
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Effects Reference
Reverb Effects
Reverb
This effect produces a high-quality algorithmic reverb with early reflections and reverb tail.
The early reflections are responsible for the spatial impression in the first milliseconds of the
reverb. For emulating different rooms, you can choose between different early reflection
patterns and adjust their size. The reverb tail, or late reverberation, offers parameters for
controlling the room 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 to
simulate larger rooms by increasing the time it takes for the first reflections to reach
the listener.
Early Reflections
Here, you select an early reflections pattern. The early reflections pattern contains the
most important delays that deliver the key information for the spatial impression of the
room.
Show Early Reflections Page/Show Chorusing Page

With these two buttons below the Early Reflections pop-up menu, you can choose
whether to display the early reflections settings or the chorusing settings in the lower
left part of the effect panel.
ER/Tail
Sets the level balance between the early reflections and the reverb tail. At a setting of
50 %, early reflections and tail have the same volume. Settings below 50 % raise the
early reflections and lower the tail, as a result the sound source moves towards the
front of the room. Settings above 50 % raise the tail and lower the early reflections, as a
result the sound source moves toward the back of the room.
Delay
Delays the onset of the reverb tail.
Room Size
Controls the dimensions of the simulated room. At a setting of 100 %, the dimensions
correspond to a cathedral or a large concert hall. At a setting of 50 %, the dimensions
correspond to a medium-sized room or studio. Settings below 50 % simulate the
dimensions of a small room or a booth.
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Effects Reference
Reverb Effects
Main Time
Controls the overall reverb time of the tail. The higher this value, the longer the reverb
tail will decay. At a setting of 100 %, the reverb time is infinitely long. The Main Time
parameter also represents the mid band of the reverb tail.
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 is
shorter. Frequencies are affected depending on the High Freq parameter.
Low Time
Controls the reverb time for the low frequencies of the reverb tail. With positive values,
you get a longer decay for the low frequencies. With negative values, you get a shorter
decay.
Frequencies are affected depending on the Low Freq 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 reverb
time with the High Time parameter.
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 time
with the Low Time parameter.
ER Size
Adjusts the length of the early reflections pattern. At a setting of 100 %, the pattern is
applied with its original length and the room sounds the most natural. At settings
below 100 %, the early reflections pattern is compressed and the room is perceived
smaller.
Low Cut
Attenuates the low frequencies of the early reflections. The higher this value, the fewer
low frequencies are present in the early reflections.
High Cut
Attenuates the high frequencies of the early reflections. The lower this value, the fewer
high frequencies the early reflections will have.
Shape
Controls the attack of the reverb tail. At a setting of 0 %, the attack is more immediate,
which is a good setting for drums. The higher this value, the less immediate the attack.
Density
Adjusts the echo density of the reverb tail. At a setting of 100 %, single reflections from
walls cannot be heard. The lower this value, the more single reflections can be heard.
Tail High Cut

Attenuates the high frequencies of the reverb tail. The lower this value, the fewer high
frequencies the reverb tail will have.
Width
Adjusts the output of the reverb signal between mono and stereo. At a setting of 0 %,
the output of the reverb is mono, at 100 % it is stereo.
Mix
Sets the ratio between the dry and the wet signal.
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Effects Reference
Delay Effects
Chorusing
Chorusing allows you to enrich the reverb tail through subtle pitch modulations. To access the
chorusing parameters, click the Show Chorusing Page button.
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.
Delay Effects
Multi Delay
This effect produces delays, with adjustable time, feedback, and filters.
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 to
hard-panned left and right delays. This way, the echoes bounce like a ping-pong
ball between left and right in the stereo panorama.
Delay Time
Sets the overall time for the left and right delay. Use the Delay L/R parameter to
shorten the time for the left or right delay.
Sync
Activate Sync to synchronize the delay time to the host tempo. If Sync is activated, the
time is set as a note value.
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Effects Reference
EQ Effects
NOTE
The maximum delay time is 5000 ms. If the note length exceeds this value, it is
automatically shortened.
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 the
output of the delay is fed back to its input. At a setting of 0 %, you hear only one echo.
At a setting of 100 %, the echoes repeat endlessly.
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.
High Freq
Attenuates the high frequencies of the delays.
Low Freq
Attenuates the low frequencies of the delays.
Mix
EQ Effects
Studio EQ
Studio EQ is a high-quality 4-band parametric equalizer.
With the four frequency bands, you can shape the tone color, to create a brighter or darker
sound, for example. The two mid-range bands act as peak filters and the low and high bands act
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Effects Reference
EQ Effects
as shelving filters. All bands are fully parametric with adjustable gain, frequency, and Q factor.
Each frequency band offers the following controls:
On/Off
Activates/Deactivates the 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.
Graphic EQ
Graphic EQ is an equalizer with ten frequency bands that can be cut or boosted by up to 12 dB. In
addition, you can specify the overall range and output of the equalizer.
Output
Controls the overall output level of the equalizer.
Mode
Allows you to add color or character to the equalized output. The following options are
available:
● True Response mode uses serial filters with accurate frequency response.
● Classic mode uses parallel filters where the resonance depends on the amount of
gain.
● Constant Q mode uses parallel filters where the resonance is raised when
boosting the gain.
Range
Adjusts the maximum cut or boost for all frequency bands together.
Invert
Activate this to invert the EQ curve.
Flatten
Resets all frequency bands to 0 dB.
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Effects Reference
Filter Effects
DJ-EQ
This plug-in is an easy-to-use 3-band parametric equalizer that resembles the EQs found on
typical DJ mixers. This plug-in is designed 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.
Reset Output Peak Level

Resets the peak level that is displayed in the output meter.
Filter Effects
Auto Filter
Auto Filter provides two morphable filter shapes with distortion.
The morphing between the two shapes, as well as the cutoff, can be controlled with a manual
pedal control, an LFO, or an envelope follower.
Filter Parameters
Filter Shape
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Effects Reference
Filter Effects
attenuated.
Input
Adjusts the gain before the filter and distortion. This parameter only affects the wet
signal.
Cutoff
Specifies the cutoff frequency of the filter.
Resonance
Emphasizes the frequencies around the cutoff. At higher resonance settings, the filter
self-oscillates, which results in a ringing tone.
Distortion Type
The following options are available:
● When this parameter is set to Off, the filter offers no distortion.
● Tube Drive adds warm, tube-like distortion.
● Hard Clip adds bright, transistor-like distortion.
● Bit Red adds digital distortion by means of quantization noise.
● Rate Red adds digital distortion by means of aliasing.
Distortion
Adds distortion to the signal. The effect depends on the selected distortion type. At
higher settings, it creates a very intense distortion effect.
NOTE
This parameter is not available if Distortion Type is set to Off.
Output
Adjusts the gain after the filter and distortion. This parameter only affects the wet
signal.
Mix
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Effects Reference
Filter Effects
LFO Section
LFO Waveform and Shape
Waveform selects the basic type of waveform. Shape changes the characteristic of the
waveform.
● Sine produces smooth modulation, suitable for vibrato or tremolo. 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 and
low state of the waveform. If Shape is set to 50 %, a square wave is produced.
● Ramp is similar to the Saw waveform. Shape increasingly puts silence before the
sawtooth ramp up begins.
● Log produces a logarithmic modulation. Shape continuously changes the
logarithmic curvature from negative to positive.
● S & H 1 produces randomly stepped modulation, where each step is different.
Shape puts ramps between the steps and changes the S & H into a smooth
random signal when fully turned 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
Freq
Determines the frequency of the cutoff modulation.
Sync
Activate this to set the Freq parameter in fractions of beats.
Depth
Determines the output level of the LFO modulation signal.
Cutoff
Determines the modulation intensity of the LFO on the filter cutoff.
Morph
Determines the modulation intensity of the LFO on the filter morph.
Envelope Follower Section

The Envelope Follower traces the input signal with an adjustable attack and release time and
delivers a modulation signal representing the level envelope of the signal.
Sensitivity
All input signals are mixed down to mono before they are sent to the Envelope
Follower. This parameter sets the optimum input level for the Envelope Follower.
Attack
Adjusts the attack time, that is, the time the Envelope Follower needs to approach
increasing input levels.
Release
Adjusts the release time, that is, the time the Envelope Follower needs to approach
decreasing input levels.
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Effects Reference
Filter Effects
Depth
Determines the output level of the modulation signal of the Envelope Follower.
Cutoff
Determines the modulation intensity of the Envelope Follower on the filter cutoff.
Morph
Determines the modulation intensity of the Envelope Follower on the filter morph.
Pedal Section
Pedal
Sets the position of the pedal.
Depth
Determines the output level of the pedal modulation signal.
Cutoff
Determines the modulation intensity of the pedal on the filter cutoff.
Morph
Determines the modulation intensity of the pedal on the filter morph.
Morph Filter
Morph Filter allows you to mix low-pass and high-pass filter effects, allowing for creative
morphings between two filters. You can specify the filter shapes independently for filter shape A
and B.
Filter Shape B
Here, you can choose between several high-pass and band-rejection filter shapes.
Filter Shape A
Here, you can select a low-pass or a band-pass filter shape.
Morph
Allows you to mix the output between the two selected filters.
Cutoff
Adjusts the cutoff frequency of the filters.
NOTE
You can also set the Cutoff and Morph parameters simultaneously by clicking in the
display and dragging.
Resonance
Emphasizes the frequencies around the cutoff frequency. For an electronic sound,
increase the resonance. At higher resonance settings, the filter self-oscillates, which
results in a ringing tone.
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Effects Reference
Distortion Effects
Distortion Effects
Distortion
This effect offers the whole range of distortion, from low fidelity, digital distortion to high fidelity,
analog sounding distortion. The available distortion types (Rate Red, Tube Drive, Hard Clip, and
Bit Red) can be freely combined.
In Gain
Adjusts the input level of the sound.
Rate Red (Rate Reduction)

Rate reduction distorts the sound by means of aliasing. Enable the Rate Red option to
activate the control that adjusts the amount of aliasing. The lower the setting, the more
aliasing is added.
Tube Drive
Adds warm, tube-like distortion to the sound. Enable the Tube Drive option to activate
the control that adjusts the amount of distortion. The higher the setting, the more
distortion is added.
Hard Clip
Adds bright, transistor-like distortion to the sound. Enable the Hard Clip option to
activate the control that adjusts the amount of distortion. The higher the setting, the
more distortion is added.
Bit Red (Bit Reduction)

Bit reduction distorts the sound by means of quantization noise. If Bit Red is activated,
you can adjust the amount of quantization noise. The lower the setting, the more
quantization noise is added.
Out Gain
Adjusts the output level of the sound.
Mix
Tape Saturator
Tape Saturator simulates the behavior of classic tape recorders. These machines produced a
specific saturation when recording higher input levels, which led to a compressed signal with
light distortion.
Mode
Here, you can choose between the effect of a single (One Stage) or two cascaded tape
machines (Two Stage). Two Stage mode leads to higher saturation and compression.
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Effects Reference
Distortion Effects
Oversampling
Activate this parameter to increase the accuracy of the effect by oversampling.
NOTE
If this parameter is activated, the effect requires more processing power.
Drive
Determines the level of the input signal and thus the amount of saturation.
Auto Gain
Activate this option for an automatic level compensation.
Low Filter
Here, you can adjust the low frequency range below 1000 Hz by +/- 3 dB.
High Filter
Here, you can attenuate the high frequency range. This high-cut filter works with a
slope of 24 dB/octave.
Output
Determines the level of the output signal.
Tube Saturator
This effect enriches the sound by adding the characteristic harmonics of a saturated tube to the
audio signal.
Oversampling
Increases the accuracy of the effect by oversampling.
NOTE
If this parameter is activated, the effect requires more processing power.
Drive
Determines the level of the input signal and thus the amount of saturation.
Low Filter
Allows you to reduce the low frequency range by up to 6 dB before saturation.
High Filter
Allows you to adjust the high frequency range by -/+ 6 dB before saturation.
Output
Determines the level of the output signal.
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Effects Reference
Modulation Effects
Modulation Effects
Chorus
Chorus thickens and broadens the sound by means of pitch modulation.
Rate
Allows you to specify the frequency of the pitch modulation in Hertz.
Sync
Activate this to set the Rate value in fractions of beats.
Depth
Phase
Widens the sound image of the effect from mono to stereo.
Shape
Adjusts the characteristics of the modulation. At a setting of 0 %, the pitch changes
continuously, producing a steady modulation. At a setting of 100 %, the pitch does not
change all the time, producing a less steady modulation.
Mix
Flanger
This effect thickens and broadens the sound by means of pitch modulation.
Rate
Sync
Depth
Phase
Widens the sound image of the effect from mono to stereo. This parameter also
changes the characteristic of the Cross FB parameter.
Shape
Adjusts the characteristics of the modulation. You hear this best when Feedback is
activated. At a setting of 0 %, the sound sweeps linearly up and down. At a setting of
100 %, the sound sweeps exponentially up and down.
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Effects Reference
Modulation Effects
Mix
Feedback
Adds resonances to the effect. This allows for jet-like sweeps of the sound.
Cross FB
Mixes the feedback of the left channel with the right channel, and vice versa. The effect
of this parameter is influenced by the Phase parameter.
NOTE
This parameter only takes effect if the Feedback parameter is set to a value above 0 %.
Tone
Adjusts the tone color of the feedback. At lower values, the feedback is less bright.
Step Flanger
The Step Flanger expands the Flanger with a Sample and Hold section that divides the
modulation signal into a definable number of steps.
Rate
Sync
Depth
Phase
Widens the sound image of the effect from mono to stereo. This parameter also
changes the characteristic of the Cross FB parameter.
Shape
Adjusts the characteristics of the modulation. You hear this best when Feedback is
activated. At a setting of 0 %, the sound sweeps linearly up and down. At a setting of
100 %, the sound sweeps exponentially up and down.
Mix
Feedback
Adds resonances to the effect. This allows for jet-like sweeps of the sound.
Cross FB
Mixes the feedback of the left channel with the right channel, and vice versa. The effect
of this parameter is influenced by the Phase parameter.
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Modulation Effects
NOTE
This parameter only takes effect if the Feedback parameter is set to a value above 0 %.
Tone
Adjusts the tone color of the feedback. At lower values, the feedback is less bright.
Type
Defines the length of the delay line that is modulated. Short produces a sharper and
Long a less defined, more blurred flanger sound.
S&H Mix
Use this parameter to blend the normal modulation signal with the stepped
modulation signal. At 100 %, only the stepped modulation is used.
Smooth
Use this parameter to create ramps between the steps. This way, the stepped
modulation signal sounds smoother.
Steps
Determines into how many steps the modulation signal is divided. You can use up to 32
steps.
Phaser
The Phaser effect thickens and broadens the sound by means of phase modulation.
Rate
Specifies the frequency of the phase modulation.
Sync
Depth
Sets the intensity of the phase modulation.
Shift
Shifts the phase modulation upwards to higher frequencies of the spectrum.
Phase
Widens the sound image of the effect from mono to stereo.
Feedback
Adds resonances to the effect. Higher settings produce a more pronounced effect.
Low Cut
Attenuates the low frequencies.
High Cut
Attenuates the high frequencies.
Mix
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Effects Reference
Modulation Effects
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. In addition, an envelope follower is available, which can be used to modulate the
frequency of the sine oscillator depending on the level of the input signal.

waveform.
● Sine produces smooth modulation. Shape adds additional harmonics to the
waveform.
trapezoid.
LFO Freq
Use this to specify the frequency of the LFO for modulating the frequency of the sine
oscillator.
Sync
Activate this to set the LFO Freq value in fractions of beats.
LFO Depth
Sets the intensity of the LFO modulation of the sine oscillator frequency.
Frequency
Determines the frequency of the sine oscillator.
Mix
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Effects Reference
Modulation Effects
Envelope Follower
The Envelope Follower traces the input signal with an adjustable attack and release
time and delivers a modulation signal representing the level envelope of the signal.
Sensitivity
Follower. The Sensitivity parameter sets the optimum input level for the Envelope
Follower.
Attack
This adjusts the attack time, that is, the time the Envelope Follower needs to approach
Release
This adjusts the release time, that is, the time the Envelope Follower needs to approach
Depth
Determines the output level of the modulation signal of the Envelope Follower.
Frequency Shifter
A frequency shifter shifts each frequency of the input signal by a fixed amount.
Unlike pitch shifters, where the frequencies are shifted by a factor, and where the harmonic
relations are kept, a frequency shifter alters the harmonic relations. Therefore, a larger
frequency shift usually results in a disharmonic sound.
Furthermore, a frequency shifter alters the frequencies by adding an offset, while a pitch shifter
multiplies the frequencies by a factor. The frequency shifter alters lower frequencies more than
higher frequencies.
For example, if the input signal has the frequencies 100 Hz, 1000 Hz, and 10000 Hz, and you shift
the frequency by +100 Hz, the resulting frequencies are 200 Hz, 1100 Hz, and 10100 Hz.
Freq Coarse
Here you set the amount of frequency shift.
Freq Fine
Here you can fine adjust the amount of frequency shift.
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 for fine-adjustments of 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.
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Modulation Effects
Mod Coarse
Sets the maximum amount of frequency shift via modulation from LFO and Envelope
Follower.
Mod Fine
Allows for fine-adjustments to the amount of frequency shift via modulation from LFO
and Envelope Follower.
Feedback
Sets the amount of feedback, that is, the amount of signal that is sent from the output
of the effect back to its input. The sound is similar to that of a phaser. You can control
the direction and speed of this effect with the Freq Fine parameter.
Notches
Here you set the number of notches the phaser effect produces when you use larger
amounts of Feedback.
LFO Section
waveform.
● Sine produces smooth modulation, suitable for vibrato or tremolo. Shape adds
additional harmonics to the waveform.
trapezoid.
Freq
Specifies the frequency of the LFO in Hertz.
Sync
Activate this to set the Freq parameter in fractions of beats.
Depth
Determines the direction and amount of frequency shift from the LFO modulation
signal.
Envelope Follower
The Envelope Follower traces the input signal with an adjustable attack and release time and
delivers a modulation signal representing the level envelope of the signal.
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Modulation Effects
Sensitivity
Follower. This parameter sets the optimum input level for the Envelope Follower.
Attack
Adjusts the attack time, that is, the time the Envelope Follower needs to approach
Release
Adjusts the release time, that is, the time the Envelope Follower needs to approach
Depth
Determines the direction and amount of frequency shift from the envelope follower
modulation signal.
NOTE
The maximum frequency shift via modulation from LFO or the Envelope Follower is
determined by the parameters Modulation Range Coarse and Modulation Range
Fine.
Mix
Vintage Ensemble
This effect emulates the sound of classic ensemble modulation effects. It is based on a delay with
LFO-modulated delay times. A secondary LFO with higher frequencies is used to produce the so-
called shimmer.
Rate
Sets the frequency of the LFO.
Sync
If Sync is activated, you can set the Rate value in fractions of beats.
Depth
Sets the intensity of the delay time modulation by the LFO.
Shimmer
Sets the intensity of a secondary faster delay time modulation.
Shimmer Rate
Determines the relation between the speed of the primary and the secondary delay
modulation. For example, with a value of 10, the secondary modulation is 10 times
faster.
Low Cut
Applies a low-cut filter to the signal. Only frequencies above the set frequency are sent
to the effect.
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Effects Reference
Dynamics Effects
High Cut
Applies a high-cut filter to the signal. Only frequencies below the set frequency are sent
to the effect.
FX Level
Allows you to adapt the effect signal level to compensate for level reductions caused by
the low-cut and high-cut filters.
Mix
Dynamics 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 graphical control to the left indicates the compression curve. You can edit the Threshold and
Ratio values with the handles of this control. The input and output VU meters indicate the level
before and after the compression. The Gain Reduction meter indicates the current attenuation of
the level.
Threshold
Sets the threshold. Sounds that are louder than the threshold are reduced in gain.
Sounds below the threshold stay untreated.
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.
Soft Knee
If this button is deactivated, signals above the threshold are compressed instantly
according to the set ratio. If Soft Knee is activated, the onset of the compression is
more gradual, producing a less drastic result.
Make-Up
Raises the overall sound. This can become necessary if too much gain reduction is
introduced by the Threshold and Ratio parameters. You can see the amount of gain
reduction in the Gain Reduction meter.
NOTE
This parameter is not available if the Auto button is activated.
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Effects Reference
Dynamics Effects
Auto Make-Up Gain

Sets the Make-Up value automatically, depending on the current Threshold and Ratio
settings.
Attack
Determines 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, the
onset of sounds exceeding the threshold passes through unprocessed.
Hold
Sets the time period during which the compression is applied after the sound exceeds
the set threshold.
Release
Determines how fast the Compressor effect reacts to sounds that fall below the
threshold. The longer the release time, the longer it takes to return to the original level.
NOTE
This parameter is not available if the Auto Release button is activated.
Auto Release
Activate this to set the release time automatically. The Compressor analyzes the input
sound continuously to find the optimal setting.
Peak/RMS
Determines whether the input signal is analyzed according to peak or RMS values or a
mixture of both. At a setting of 0 %, the Compressor uses Peak sensing only and at
100 %, RMS sensing only. Peak means that the Compressor directly senses the peak
level of the sound. RMS means that the Compressor senses the average power of the
sound. Peak sensing responds faster than RMS sensing. Typically, Peak sensing is used
for transient and RMS sensing for sustained sounds.
Vintage Compressor
Vintage Compressor is modeled after vintage type compressors.
This compressor features separate controls for Input and Output gain, Attack, and Release. In
addition, there is a Punch mode which preserves the attack phase of the signal and a program-
dependent Auto feature for the Release parameter.
In/Out Meters
Show the highest peaks of all available input and output channels.
GR Meter
Shows the amount of gain reduction.
Input
Determines the compression amount. The higher the input gain, the more
compression is applied.
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Effects Reference
Dynamics Effects
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.
Attack (0.1 to 100 ms)

Determines how fast the compressor responds. If the attack time is long, more of the
initial part of the signal passes through unprocessed.
Punch
If this is activated, the early attack phase of the signal is preserved, retaining the
original punch in the audio material, even with short Attack settings.
Release (10 to 1000 ms or Auto mode)

Sets the time after which the gain returns to its original level. If Auto Release is
activated, the plug-in automatically finds the best release setting for the audio
material.
Output (-48 to 24 dB)

Sets the output gain.
Tube Compressor
This versatile compressor with integrated tube-simulation allows you to achieve smooth and
warm compression effects. The GR meter shows the amount of gain reduction. Tube Compressor
features an internal side-chain section that lets you filter the trigger signal.
In/Out Meters
Show the highest peaks of all available input and output channels.
GR Meter
Shows the amount of gain reduction.
Input
Determines the compression amount. The higher the input gain, the more
compression is applied.
Limit
Increases the ratio of the compressor for a limiting effect.
Drive (1.0 to 6.0)

Controls the amount of tube saturation.
Attack (0.1 to 100 ms)

Determines how fast the compressor responds. If the attack time is long, more of the
initial part of the signal passes through unprocessed.
Release (10 to 1000 ms or Auto mode)

Sets the time after which the gain returns to its original level. If Auto Release is
activated, the plug-in automatically finds the best release setting for the audio
material.
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Effects Reference
Dynamics Effects
Output (-12 to 12 dB)

Sets the output gain.
Mix
Adjusts the mix between dry signal and wet signal preserving the transients of the
input signal.
Side-Chain
Activates the internal side-chain filter. The input signal can then be shaped according
to the filter parameters. Internal side-chaining is useful for tailoring how the gate
operates.
Monitor
Allows you to monitor the filtered signal.
Filter Type (Low-Pass/Band-Pass/High-Pass)

If Side-Chain is activated, these buttons allow you to set the filter type to low-pass,
band-pass, or high-pass.
Center
If Side-Chain is activated, this sets the center frequency of the filter.
Q-Factor
If Side-Chain is activated, this sets the resonance or width of the filter.
Limiter
The Limiter effect prevents the sound from exceeding the set output level. This can be used to
avoid clipping in following effects, for example.
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.
Input
Adjusts the input level of the sound. By increasing the input level, you can drive the
sound more and more into limiting.
Output
Sets the maximum output level of the sound.
Release
Sets the time that the gain needs to return to its original level. The longer the release
time, the longer it takes to return to the original level.
NOTE
This parameter is not available if the Auto button is activated.
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Effects Reference
Dynamics Effects
Auto
Activate this to set the release time automatically. The Limiter analyzes the input sound
continuously to find the optimal setting.
Brickwall Limiter
Brickwall Limiter ensures that the output level never exceeds a set limit.
Due to its fast attack time, Brickwall Limiter can reduce even short audio level peaks without
creating audible artifacts. However, this plug-in creates a latency of 1 ms. Brickwall Limiter
features separate meters for input, output, and the amount of limiting.
Threshold (-20 to 0 dB)

Determines the level where the limiter kicks in. Only signal levels above the set
threshold are processed.
Release (ms or Auto mode)

Sets the time after which the gain returns to the original level when the signal drops
below the threshold. If the Auto button is activated, the plug-in automatically finds the
best release setting for the audio material.
Link
If this button is activated, Brickwall Limiter uses the channel with the highest level to
analyze the input signal. If the button is deactivated, each channel is analyzed
separately.
Detect Intersample Clipping

If this option is activated, Brickwall Limiter uses oversampling to detect and limit
signal levels between two samples to prevent distortion when converting digital signals
into analog signals.
NOTE
Brickwall Limiter is designed for the reduction of occasional peaks in the signal. If the Gain
Reduction meter indicates constant limiting, try raising the threshold or lowering the overall level
of the input signal.
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Effects Reference
Dynamics Effects
Maximizer
This plug-in raises the loudness of audio material without the risk of clipping.
Optimize
Determines the loudness of the signal.
Output
Sets the maximum output level.
Soft Clip
If this button is activated, Maximizer starts limiting or clipping the signal softly. At the
same time, harmonics are generated, adding a warm, tube-like characteristic to the
audio material.
Expander
The Expander reduces the output level in relation to the input level for signals below the set
threshold. This is useful to enhance the dynamic range or reduce the noise in quiet passages.
The graphical control to the left shows the expansion curve. You can edit the Threshold and
Ratio values with the handles of this control. The input and output meters indicate the level
before and after the expansion. The Gain Reduction meter indicates the current attenuation of
the level.
Threshold
Sets the threshold. Sounds that are softer than the threshold are reduced in gain.
Sounds above the threshold stay untreated.
Ratio
Sets the amount of gain reduction for sounds that are softer 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 below the threshold, the output is lowered by
2 dB. If the amplitude is 8 dB below the threshold, the output is lowered by 4 dB.
Soft Knee
If this button is deactivated, signals above the threshold are compressed instantly
according to the set ratio. When Soft Knee is activated, the onset of the expansion is
more gradual, producing a less drastic result.
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Effects Reference
Dynamics Effects
Attack
Determines how fast the Expander reduces the gain when the sound falls below the set
threshold. The longer the attack time, the longer it takes to reduce the gain.
Hold
Sets the time period during which the expansion is applied after the sound falls below
the set threshold.
Release
Determines how fast the Expander effect raises the gain after the sound exceeds the
set threshold. The longer the release time, the longer it takes to raise the gain.
NOTE
This parameter is not available when the Auto Release button is activated.
Auto
Activate this to set the release time automatically. The Expander analyzes the input
sound continuously to find the optimal setting.
Peak/RMS
Determines whether the input signal is analyzed according to peak or RMS values or a
mixture of both. At a setting of 0 %, the Expander uses Peak sensing only and at 100 %,
RMS sensing only. Peak means that the Expander directly senses the peak level of the
sound. RMS means that the Expander senses the average power of the sound. Peak
sensing responds faster than RMS sensing. Typically, Peak sensing is used for transient
and RMS sensing for sustained sounds.
Gate
The Gate effect passes sound only to its output if the input sound exceeds the set threshold.
Sounds below the threshold are silenced.
An internal side-chain filter allows you to analyze a filtered version of the input sound instead.
This way, the gate detects only certain frequencies of the input sound.
Threshold
Determines the level that activates the gate. Signal levels above the set threshold
trigger the gate to open, and signal levels below the set threshold close the gate.
Filter
Activates the internal side-chain filter. If this button is activated, the input sound is
filtered before it is analyzed. The gate opens only if the filtered sound exceeds the set
threshold. When the Filter button is deactivated, the filter controls are not available.
Filter Type
Sets the filter type for the side-chain filter. Select high-pass (HP) to detect high
frequencies, band-pass (BP) to detect mid frequencies, and low-pass (LP) to detect low
frequencies only.
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Effects Reference
Dynamics Effects
Monitor
Activate this button to listen to the sound of the side-chain filter. The gate is inactive
when the Monitor button is activated.
Center
Sets the center frequency of the side-chain filter.
Q-Factor
Adjusts the bandwidth of the filter from wide to narrow.
Attack
Determines how fast the gate opens when the sound exceeds the set threshold. The
longer the attack time, the longer it takes for the sound to fade in.
Hold
Sets the time period during which the gate is applied after the sound falls below the set
threshold.
Release
Determines how fast the gate closes after the sound falls below the set threshold. The
longer the release time, the longer it takes for the sound to fade out.
NOTE
This parameter is not available when the Auto button is activated.
Auto
Activate this to set the Release time automatically. The Gate analyzes the input sound
continuously to find the optimal setting.
Peak/RMS
Determines whether the input signal is analyzed according to peak or RMS values (or a
mixture of both). At a setting of 0 %, the Gate uses Peak sensing only and at 100 %,
RMS sensing only. Peak means that the Gate directly senses the peak level of the
sound. RMS means that the Gate senses the average power of the sound. Peak sensing
responds faster than RMS sensing. Typically, Peak sensing is used for transient and
RMS sensing for sustained sounds.
Envelope Shaper
This effect can be used to attenuate or boost the gain of the attack and release phase of audio
material.
Be careful with levels when boosting the gain and, if needed, reduce the output level to avoid
clipping.
Attack - Gain
Changes the gain of the attack phase of the signal.
Attack - Length
Determines the length of the attack phase of the signal.
Release - Gain
Changes the gain of the release phase of the signal.
128
Effects Reference
Spatial and Panner Effects
Output
Sets the output level.
Spatial and Panner Effects
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.
Width
Adjusts the stereo width of the signal from stereo to mono.
Stereo Enhancer
This plug-in expands the stereo width of stereo audio material. It cannot be used with mono files.
Width
Controls the width or depth of the stereo enhancement. Turn clockwise to increase the
enhancement.
Delay
Increases the amount of differences between the left and right channels to further
increase the stereo effect.
Color
Generates additional differences between the channels to increase the stereo
enhancement.
Mono
Switches the output to mono, to check for possible unwanted coloring of the sound
which sometimes can occur when enhancing the stereo image.
129
Automation and MIDI
Controllers
Automation
You can automate most of the Groove Agent SE parameters from within your host application,
whether these are kit parameters or global parameters such as AUX effects.
Groove Agent SE provides 512 automation parameters that can be addressed from within the
host application. You can assign Groove Agent SE parameters to one of these automation
parameters, and even assign multiple parameters to the same automation parameter, to control
these parameters at the same time.
If you are working with Beat Agent SE kits, automated parameters always control the parameters
of whole pads and not of single samples. Therefore, individual settings of samples are
overwritten. For example, if the samples of a pad have different cutoff values, and you start
automating the cutoff parameter, the samples are all set to the same cutoff value.
Automation Page
All assigned automation parameters are shown on the Automation page.
To access this page, open the Options page and activate the Automation tab at the top.
With the tabs at the top of the Automation page, you can specify whether you want to show the
automation parameters for the kit, the global parameters, or all automation parameters.
On the left, the name of the automation parameter is shown, and on the right, the name of the
assigned Groove Agent SE parameter. If multiple Groove Agent SE parameters are assigned to
one automation parameter, these are listed below each other on the right.
● 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.
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Automation and MIDI Controllers
MIDI Controllers
● To rename an automation parameter, double-click the parameter name and enter the new
name. This name is then used in your host application.
● To replace the names for all automation parameters with the names of the pads, click
Refresh All Parameter Names on the toolbar.
Setting Up Automation
By default, the most important parameters for the 16 pads of group 3 are already assigned to
automation parameters.
Creating Automation Parameters

● To assign a parameter to an automation parameter, right-click the parameter control and
select 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 select
Forget Automation.
● To assign a parameter to an automation parameter automatically while working in your host
application, activate Automation Read/Write, start playback, and use the controls on the
Groove Agent SE interface.
MIDI Controllers
You can assign Groove Agent SE parameters to MIDI controllers.
Some parameters are assigned to controllers by default, but you can customize this factory
controller mapping. This way, you can adapt the mapping to your MIDI keyboard or controller.
To provide more control, you can set the minimum and maximum range for each assignment
separately.
NOTE
The controller assignments for the parameters Volume (CC 007) and Pan (CC 010) are fixed and
cannot be edited or removed. To change volume or pan of a kit slot, send CC#7 or CC#10
messages on the corresponding MIDI channel of the slot.
Assigning MIDI Controllers

To assign a MIDI controller to a parameter, proceed as follows:
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 several times to different parameters. However, you
cannot assign different MIDI controllers to the same parameter.
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Automation and MIDI Controllers
MIDI Controllers
Unassigning MIDI Controllers

PROCEDURE
● To remove a MIDI controller assignment, right-click the control and select Forget CC.
Restoring the Factory MIDI Controller Assignment

To restore the factory MIDI controller assignments, open the Options page and click Reset to
Factory in the MIDI Controller section.
Saving a MIDI Controller Mapping as Default

After customizing the factory MIDI controller assignments, you can save them as default.
PROCEDURE
● Open the Options Editor and, in the MIDI Controller section, click Save as Default.
RESULT
Now, each time that you load a new instance of the plug-in, your customized MIDI controller
mapping is available as default.
NOTE
● Saving the controller mapping as default does not include the MIDI controller assignments
of the AUX FX.
● The MIDI controller mapping is saved with each project. This way, you can transfer your
settings to other systems. The project also includes the MIDI controller assignments of the
AUX FX.
Setting the Parameter Range

You can set the minimum and maximum values for 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.
132
Global Functions and Settings
Plug-in Functions Section

The plug-in functions section contains the multi slot section, the master section, and the
performance displays.
Master Section
The master section can be used to set volume and tuning of the plug-in.
Master Volume
Adjusts the overall volume of the plug-in.
Master Tune
You can set the Master Tune slider from 415.3 Hz to 466.2 Hz, which equals -100 cents
to +100 cents.
Performance Displays
The meters and text displays indicate the system load of the plug-in.
CPU
This meter shows the processor load during playback. The more voices you play, the
higher the processor load. If the overload indicator lights up, reduce the Max Voices
setting on the Options page.
Disk
This meter shows the hard disk transfer load during the streaming of samples or when
loading presets. If the overload indicator lights up, the hard disk is not supplying data
fast enough. In such a case, open the Options page and adjust the Disk vs. RAM slider
towards RAM or decrease the Max Voices setting.
Polyphony
This display indicates the number of samples that are currently played back, to help
you trace performance problems. For example, if you have to reduce the Max Voices
setting on the Options page, you can verify your settings by monitoring the number of
samples that are currently playing.
Memory
This display indicates the overall amount of RAM that is currently used. The number
refers to the streaming buffer and the preloaded samples. The MEM display helps you
trace performance problems. For example, if you need to free up memory for other
applications, you can adjust the Disk vs. RAM slider on the Options page toward Disk.
You can verify your settings by monitoring the MEM display.
133
Plug-in Name and Steinberg Logo
Plug-in Name and Steinberg Logo

To get information regarding the version and build number of the plug-in, click the plug-in logo.
This opens the About box. To close the About box, click it or press Esc on your computer
keyboard.
If you click the Steinberg logo in the top right corner of the plug-in interface, a pop-up menu
opens. Select one of the options to navigate to Steinberg web pages containing information on
software updates, troubleshooting, etc.
Toolbar
The toolbar contains useful global functions.
MIDI Follow
If this button is activated and you trigger a sample or play an instrument via the
keyboard, they are automatically shown in the corresponding editor.
Controller Selector
By default, incoming velocity values determine which sample is played. You can use
another controller instead. This allows you to select the sample via the modulation
wheel, for example.
● To use another controller, activate the controller selector button, right-click it, and
select the controller that you want to use from the list.
NOTE
You cannot change the controller for sample playback if Fix Velocity is activated.
Fix Velocity
To trigger all pads with the same velocity, activate this button. Use the button to the
right to set the velocity value. This velocity is used for incoming MIDI notes, as well as
for notes that are triggered by clicking a pad.
Global insert, AUX, and Pattern Player buttons

Use these buttons to switch off all insert effects, AUX effects, and pattern players for
the entire plug-in at once. You can use this to compare sounds with and without effects
or to use a preset without the pattern player, for example.
RAM Save
Allows you to unload unused samples.
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 select
the step to which you want to return.
NOTE
How many undo/redo operations are available depends on the Undo Steps setting on
the Options page.
134
Keyboard
RELATED LINKS
Unloading Unused Samples on page 135
Unloading Unused Samples

The RAM Save function scans the playback of your project and unloads unused samples.
PROCEDURE
1. Click RAM Save on the toolbar and in the dialog, click Yes to start collecting the necessary
samples.
The RAM Save button starts blinking.
2. Play back the project in your host application from the beginning to the end or to the point
where no new notes are played.
RAM Save always keeps samples that are within the range between the highest and the
lowest note of the played programs.
3. Click the RAM Save button again. In the dialog, click Yes.
RESULT
The unused samples are unloaded.
To deactivate RAM Save and reload the unused samples, click the RAM Save button again.
Keyboard
You can use the keyboard to get a better overview of the mapping and to trigger MIDI notes.
● To open the keyboard, click the Show/Hide Keyboard button in the upper right corner of the
panel.
The keyboard shows the pattern pads and the instrument pads of the selected kit. If pads share
the same keys, the pattern pads have priority, that is, only the pattern pad is shown on the
keyboard.
If Use Pattern MIDI Port for Pattern Pads is activated on the Pattern page, instrument pads
are not shown on the keyboard if the Pattern page is shown, and vice versa.
The following color scheme is used in the keyboard:
● Keys that are not assigned are grayed out.

● Keys that are assigned are shown in white and black, respectively.
● Keys that belong to a pad for which a color is assigned are shown in this color.
Previewing Notes Using the Keyboard

● To preview a note, click the corresponding key on the keyboard.
The vertical position where you click a key defines the velocity that is used to trigger the
note. Click the lower part of a key to use the highest velocity, and the upper part to use the
lowest velocity.
● To play a key and all following keys at the same velocity, for as long as you keep the mouse
button pressed, hold down Ctrl/Cmd and click the key on the keyboard.
● To play each note 10 times at increasing velocities between 1 and 127, hold down Ctrl/Cmd -
Alt/Opt and click a key.
135
Options Page
Options Page
The Options page contains global settings regarding performance optimization, global
functions, and MIDI controllers.
Disk Streaming Section

Some of the programs come with a large amount of data. Ideally, the computer would load all
the program data into the RAM for fast access. However, this would leave less RAM for other
applications. Also, your computer may not be able to handle this kind of load. Therefore, Groove
Agent SE loads only the initial milliseconds of each sample into RAM. You can specify how much
RAM should be used and how much Groove Agent SE should rely on accessing the hard-disk.
Balancing Disk vs. RAM

Use the Balance slider to balance the hard disk versus the RAM usage.
● If you need more RAM for other applications, drag the slider to the left towards the
Disk setting.
● If your hard disk is not supplying data fast enough, drag the slider to the right
towards the RAM setting.
NOTE
The Disk vs. RAM setting always applies to all plug-in instances. It is not saved with the
project. You set it up only once for your computer system.
Used Preload and Available Memory

These displays provide information of the memory load in MB according to the current
balance slider setting.
Max Preload
Determines the maximum amount of RAM that Groove Agent SE uses for preloading
samples. In most cases, the default values are sufficient. However, it may become
necessary to reduce this value, for example, when working with other applications or
plug-ins that require a lot of memory.
Expert Mode
Activate Expert Mode if you want to adjust the Disk Streaming settings in greater
detail.
136
Options Page
● Preload Time defines how much of the start of the samples is preloaded into the
RAM. Larger values allow for more samples to be triggered in a short time.
● Prefetch Time determines the read-ahead capacity into the RAM while streaming
samples for a voice that is playing. Larger values allow for better transfer rates
from disk, and usually for more voices. However, this requires larger streaming
cache in RAM. If you increase the Prefetch Time, it is recommended to also
increase the Streaming Cache.
● Streaming Cache determines the amount of RAM that is reserved for prefetching.
The actually needed size depends on the prefetch time, the number of
simultaneously streaming voices and the audio format of the samples. For
example, higher sample and bit rates need more RAM.
Performance Section
The Performance section contains settings to optimize the overall CPU performance of the plug-
in.
Max Voices
Determines the total number of voices that a plug-in instance can play back. As soon as
this limit is reached, Groove Agent SE starts stealing voices.
Max CPU
To avoid clicks from CPU overloads, you can specify a maximum limit for the CPU load
of the plug-in instance. Groove Agent SE steals voices automatically when this limit is
exceeded. At a setting of 100 %, this parameter is deactivated.
NOTE
Because of the reaction time of the plug-in, it is possible that you get CPU peaks that
exceed the set limit. This can lead to artifacts, such as audio drop-outs. Therefore, it is
good practice to set the Max CPU setting at a value a bit lower than actually needed.
Voice Fade Out

Sets the time to fade out voices that need to be stolen because the Max Voices setting
or the Max CPU setting have been reached.
Global Section
Here, you find common settings of Groove Agent SE.
NOTE
The settings in this section are not saved with a project, but affect the plug-in as a whole.
Show Tooltips
If this option is activated, a tooltip is shown when you move the mouse over a control.
Show Value Tooltips

If this option is activated, parameters without a value field display their value in a
tooltip when you use the corresponding control.
High DPI Mode

If High DPI Mode is activated, the plug-in uses high-resolution bitmaps when it is
displayed 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.
137
Options Page
NOTE
● Windows systems currently only support scaling factors that are multiples of 100.
For example, if you use a scaling factor of 150 %, in Groove Agent SE, the scaling
factor used is 200 %.
High DPI Mode may not be compatible with some combinations of software and
hardware. If you experience display issues with your setup, you can deactivate
High DPI Mode.
If High DPI Mode is deactivated, the native monitor resolution is used.
Solo Mode
● In Standard mode, you can solo multiple instrument pads to hear them combined.
● In Exclusive mode, only one instrument pad can be soloed at a time.
Number of Undo Steps

Specifies the number of available undo steps.
Key Commands
Opens the Key Commands dialog, where you can view and assign key commands.
Reset Messages
If you click this button, all message dialogs that have been suppressed with the Don't
Show Again option are displayed again.
MIDI Controller Section

Controller Assignment
With the two buttons in this section, you can save your customized MIDI controller
assignments as default or restore the factory MIDI controller assignments.
NOTE
Save as Default does not include any of the MIDI controller assignments of the AUX
FX.
The current MIDI controller mapping is also saved with each project. This way, you can
transfer your settings to other systems. The project includes the MIDI controller
assignments of the AUX FX as well.
NOTE
The controller assignments for the parameters Volume (CC 007) and Pan (CC 010) are
fixed and cannot be edited or removed. To change volume or pan of a kit slot, send
CC#7 or CC#10 messages on the corresponding MIDI channel of the kit slot.
Pattern Playback
Hold Reset sends a global hold reset message to all patterns that are used.
The Reset Controller pop-up menu allows you to assign a dedicated MIDI controller to
the Hold Reset button for remote-controlling it.
138
Mixer Routing Diagrams
Beat Agent SE Routing
139
Mixer Routing Diagrams
Acoustic Agent SE Routing
140
Index
A Effects (continued)
Reverb 103
ABS button 54 Ring Modulator 117
Absolute Editing 54 Step Flanger 115
Acoustic Agent SE 86 Stereo Pan 129
Sound Editing 86 StereoEnhancer 129
Automation 130 Studio EQ 106
AUX Mixer 99 Tape Saturator 112
Tube Compressor 123
Tube Saturator 113
B Using 101
Beat Agent SE 54 Vintage Compressor 122
Exporting Files 83 Vintage Ensemble 120
Importing Files 83 Effects Page 101
Mixing 95 Envelopes
Sound Editing 54 Editing 64, 65
Browser Selecting nodes 64
Loading Files 27 Setting up the Loop 67
Replacing Samples 32 Synchronizing to host 66
EQ Effects 106
Exporting
D Kit with Samples 84
Delay Effects 105
Distortion Effects 112 F
Dynamics Effects 121
Filter Effects 108
E
G
Edit Page
Amp Tab 71 GAK Files
Filter Tab 69 Importing 83
Main Tab 61 Groove Agent ONE Content 11
Mapping View 59
Pitch Tab 67 I
Sample Tab 72
Slice Tab 81 Instrument Pads 35
Effect Slots 101 MIDI Effects 39
Effects 95, 101
Auto Filter 108
Brickwall Limiter 125 K
Chorus 114 Key commands 7
Compressor 121 Kit Context Menu 19
Distortion 112 Kit Mixer 100
DJ-EQ 108 Kit Rack 19
Envelope Shaper 128 Kit Slot 18
Expander 126 Kits 11
Flanger 114 Loading 18
Frequency Shifter 118
Gate 127
Graphic EQ 107 M
Limiter 124
Master Mixer 101
Maximizer 126
Master Section 133
MorphFilter 111
Multi Delay 105
Phaser 116
141
Index
MediaBay
Filters 22
Results List 23
MIDI Controllers 131
Assigning 131
Parameter range 132
Unassigning 132
Missing Samples
Finding 84
Mixing 95
Modulation Effects 114
MPC Files
Importing 83
Multi Selection 6
Multis 11
O
Options Page 136
P
Pad Section 33
Instrument Pads 35
Pattern Pads 42
Panner Effects 129
Pattern Pads 42
Presets 11
Module Presets 8
VST Presets 8
R
REL button 54
Relative Editing 54
Reverb Effects 103
REX Files
Importing 83
S
Samples
Finding 84
Sliced Loops
Importing 83
Spatial Effects 129
V
Value Ranges
Adjusting 6
142

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What are Agents, Kits, and Content Files?

What are Agents, Kits, and Content Files?

What are the different sections in Groove Agent SE?

What are the different sections in Groove Agent SE?

Groove Agent SE

4 Introduction 112 Distortion Effects

6 Common Editing Methods 130 Automation and MIDI Controllers

After Completing This Task

How You Can Reach Us

About the Documentation

Dials and Sliders

Multi Selection and Parameter Controls

Adjusting Value Ranges

● To compress or expand the value range, drag the corona.

To set a value, you have the following possibilities:

● Double-click in a value field, enter a new value, and press Return .

Using Key Commands

Handling Section and Module Presets

● To save a preset, click Save .

Factory presets cannot be deleted.

Handling VST Presets

Loading VST Presets

2. Do one of the following:

Saving VST Presets

Agents, Kits, and Content Files

Content Files and Folder Structure

Groove Agent ONE Content

Pattern and Instrument Pads

Browsing for MIDI Patterns and Styles

Playing back Pattern Pads

Converting Styles to MIDI Patterns

Creating the Different Sections of a Drum Track

AFTER COMPLETING THIS TASK

Recording Trigger Notes for Your Patterns

Dragging Patterns into a Project

Editing Patterns in the DAW

There are several ways to load kits:

Load Previous/Next Kit

Load Kit with Patterns

MIDI Input Indicator

Follow Transport works differently in Jam Mode.

Song Position Counter

Kit Context Menu

Load Kit With Patterns

Load Pattern Group

Save Pattern Group

Delete Pattern Group

Revert to Last Saved Kit

Import (Beat Agent SE only)

Export Kit With Samples (Beat Agent SE only)

Export Mixer and FX to Cubase/Nuendo

Export Mixer to Cubase/Nuendo

Managing and Loading Files

● The Kits page gives you access to the kits.

Filtering the Results

Content Set Filter

View Filters (Kits Page)

Style Filters (Styles Page)

Set up Result Columns