While there is not an automation lane for arming/disarming record and monitor for tracks, there is a work around.
These CuBase events can be triggered via Generic Remote maps. So, one could set up a virtual MIDI port and connect that to a generic remote map with assignments to work these DAW controls (leave the Generic Remote Map’s ‘output’ unconnected to avoid any possible loop-back scenario).
Just as an example, lets say you create a fresh Generic Remote map (you can stack as many as you like in CuBase Pro), then assign in that map, over MIDI channel 1, from a virtual MIDI port named “RMautomation”, CC21@127 to arm a track, and CC21@0 to disarm it.
From here, if you want to automate this as part of the project sequence, you’d use a regular MIDI track, and send the channel 1, CC21 events to the “RMautomation” port that is connected to your Generic Remote map.
There are a number of things in Cubase that might come in handy to ‘automate’ with your sequencer in a project that do not have dedicated automation lanes (Another example might be launching a macro, or even working the transport controls). Looping back into a dedicated Generic Remote map using a MIDI track makes it possible I do it quite frequently in live situations. Examples include building an ‘organ stop’ style of instrument, where tracks can be punched in and out (armed/disarmed) as part of my sequence. It’s also nice for live situations where I want the DAW to stop down at a certain point, and wait for me to start it up again.
If you’re on a PC, you’ll need a virtual MIDI loop driver. I recommend loopMIDI if you do not already have one. If you are on a Mac, I believe the OS includes everything you need to create a virtual port.
One catch to using this approach, is that you’ll need to make notes about what you’ve done (perhaps in the project’s notepad), and you’ll most likely want to export and archive a copy of your remote map setup with your project, as these maps do not ‘save with each project’. Instead, they remain as a default part of your overall DAW configuration. With that in mind, you’ll probably want to work in groups of 16, and set up redundant controls on all 16 MIDI channels. This way things will work more or less from left to right in ‘track order’. If you change track order…the changes will be ‘relative’ and in the same order as your remote controls. So, be aware that changing the order of tracks makes a difference (since many remote operations are bound in track order). Alo, it’ll probably be handy to assign a key-combo to quickly and easily bring up your remote map for on the fly tweaks as needed throughout a project. Any time you work on a project where a given Generic Remote map is ‘in your way’, simply disconnect it from any MIDI port, and that effectively disables it.
Aside from trying to automate things through a Generic Remote Map via sequenced MIDI track…it’s also nice to set some maps up simply for basic control from my MIDI keyboard. I.E. I can tap an MPC pad to arm/disarm a track (the pad lights up when armed, and goes dark when disarmed). I can drive the score and key editors (change grid sizes, note values in step input mode, etc.) with MPC pads, buttons, or split keyboard configurations. The list goes on.
Be aware that you CAN assign multiple things to a single MIDI event in a Generic Remote map. So you could effectively build a map where a single MIDI command would do several things in the CuBase. I.E. Mute tracks 2-9, arm track 10, unmute tracks 11-24, and run a macro to change the colors of some things on screen. To do this, you simply keep assigning different tasks to the same MIDI event in the map.
You can also ‘stack maps’, and use several of them at once (from the same, or multiple controllers).
Anytime I want to ‘record live’ all of the remote controls…I just pipe the MIDI stream through a MIDI track that is armed for recording first, and then have it routed via loopMIDI into the respective Generic Controller map. I also have the added benefit of being able to draw stuff right into the key editor. I can have different versions of this automation track…slice the part in to useful bits that can be copied/pasted, moved around, etc…mute them in and out as needed…
So…if Macros and Project and MIDI Logic editors are not enough to get it done…think outside of the box…this is an ‘old school’ method that is fully automatable, so it works