mettelus

I didn't even know this existed. A lot of folks have asked about free noise capture/noise removal methods in that past and this one totally fits the bill. Thanks for posting this.

Correct, the auto-insert of TTS-1 will only occur with no MIDI outputs selected. Although it is not a huge deal to add external synths once CbB is opened, it can be a PITA to remember to disable them when closing CbB. As far as routing, I would highly recommend considering track templates for any instruments you take the time to set up. After loading a MIDI file you can simply insert track templates and route the MIDI outputs as appropriate, OR... another option is to simply shift-drag MIDI clips into the correct synth track from the open MIDI file (even with outputs selected on load), which may be far quicker. If you get to a complex project that you use often, a project template would be helpful, but there wouldn't be a way around getting MIDI data from the MIDI file itself to point to the correct track other than mentioned above. There would always be some "sorting" involved.

The oxidation layer that forms on electronic connections is typically very thin, but it can cause issues over time even for things that are permanently connected. That layer tends to be so thin that simply reseating/reconnecting it will usually wear enough off enough to re-establish a good connection. Connector cleaners like DeOxit are also something to consider for cleaning those (whenever you happen to open them), as well as for things that are important, but not always seated (XLR connectors, wall outlets, and the like). Those oxidize quicker because they are open/exposed more often, but those are also worn down each time you make the connection through simple use.

This ended up being very good for its purpose. The only downside to it is that the noise floor is a bit higher than anticipated (most reviews reference this), but the internal gate was able to remove that with a little tweaking. Being the condenser version, that gate (and other internal FX) are required to bypass external processing completely. The only other nuisance for me is it comes with a 3' cord, but I used a 10' cord and it didn't care. The latency is enough that I wouldn't use this for musical tracking, per se, but it definitely hits the mark for screen caps and podcast type work. Upsides to this guy is that it does have a pretty complete FX chain built in. Although the order is locked, if you go into the advanced setup some of the modules can be swapped with other emulations. It comes with ASIO drivers, which includes 2 virtual inputs as well as one for the system connected to (4 total when you include the mic itself). Three polar patterns, three output mixes available, OBS capable (PreSonus has their own OBS installer included), and ironically (for me), this is also Dolby Atmos capable, so that binaural demo they did for Studio One 6.5 I could actually listen to. So far I have only used it for a couple screen caps, but the virtual routing has been a welcome change for me since the DAW output was now crystal clear. All inputs/outputs are exposed in the DAW, so I could send the Master bus to the mic's internal mixer, then one of the mixes to the capture app. Everything is exposed, so I could have done a loopback into the DAW as well, but the internal FX needed no post processing so was moot.

One common chorus effect used over the years is to duplicate a track, pan one hard left, the other hard right, then scoot one of them by roughly 30ms (plus or minus). Fiddling with that delay time will provide varying effects.

Depending on the age and type of mouse, disconnecting and reseating connections may help. If it is an optical mouse, also check and clean the optics socket. The oddest mouse behavior I ever had was from a piece of lint in the optics socket.

Don't feel bad... all of the music that comes from my other end always becomes sewage as well.

Or... you could get the pre-owned one for $124.65!! This deal is also on Amazon (one day also for the Prime deals). On there it also has Ableton Live Lite listed with purchase. Since I do most screen captures with a webcam mic, I am actually interested in the pre-mixing features this has to see how it does.

Google Christian Henson, that incident is pretty high on the list of hits

So it was YOU! LOL Over the years I have become a fan of gallon freezer bags. They are big enough to hold "sets" of things and I can just label them with a sharpie and throw them in a box without having to dig too much later on. They also keep things from getting dirty or dirtying other things (the freezer bags I consume the most are actually kept in the garage so I don't lose tiny parts or transfer grease to everything).

There was a site posted a while back to give you insight into the frequency response of various mics using the same audio. I forget where it was offhand, but the real takeaway is that frequency response is sort of moot with proper EQ (what that site was actually doing was overlaying the mic-specific response curves over the audio samples). Adequate signal-to-noise ratio tends to be more important so that you can isolate the signal and tailor it accordingly. As long as the frequency content was captured, one can process it at will.

Just to point this feature out without you needing to dig for it, if you right click a MIDI file and "Open with..." Cakewalk without any MIDI output devices selected (as you show above), Cakewalk will open and insert TTS-1 automatically and route each channel to the "best fit" audio for each MIDI channel in the file. That feature has been around a long time now.

This has been able to be shut off in preferences for a while now, but has gotten so many complaints that the pop ups have a "don't show this message again" check box. That said, some of the best deals are via those pop ups (cheaper than other sales). In fact, the pop up I am looking at right now (from PaintShop Pro) is this: Which is the cheapest I have ever seen Painter (the upgrade is normally $148), and this seems to be is for the FULL version. Quick Edit: I had to check that link out... full version is $99 ($330 discount), if you change the drop down to "upgrade" it jumps to $228! I am not logged in, so just being on the Painter page and going to the "Buy Now" button comes up as $99, so I am assuming anyone can purchase it for that price. 2023 was released June 2022, so a new version is coming soon, but that it the cheapest on boarding to Painter I have ever seen.

Definitely check your routing. If it doesn't work with Input Echo enabled (and the track armed), you are probably hearing the audio from your audio interface rather than the DAW when tracking as @rsinger just mentioned. Try arming with input echo on and tweak that till you hear the cab "live."

It has been a while since I have used this, but there is a trick to copy/pasting parts so that they are not linked to the same SS instance. I forget how that is done offhand, but you can link the SS to separate variations in the song (to modify them all as a "group") as well as paste them as simple MIDI clips. IIRC, you can also grab MIDI clips and open them in the SS for editing. BFD also launched a free player that in in the Deals subforum now if interested. A lot of what you are seeking is baked into most of the drum VSTis on the market today, and there are a handful of good free ones available).

Are you talking a single MIDI track or a single audio track here? I cannot think of a VSTi that can fire off multiple articulations in a single instance simultaneously (the articulation is a key switch that drives every note played after it), so the only idea that comes to mind is to load two instances inside Kontakt (one for each articulation used) as David mentioned above. Internal to Kontakt, you can play with routing (and may achieve your goal that way); but "visually" it can get insanely confusing to try to do everything from one track and understand what is going on. You have access to unlimited tracks, which also gives you better control over mixing them later on (example would be if you want to pan the oohs right, but the aahs left when mixing, adjust levels separately, etc.).

On a serious note, there is no denying that there is a Linux fan base (regardless the size), so a larger developer stepping up to the plate to support them is impressive. As someone who only has one vehicle that doesn't fall into the antique/historic class, the last thing I am going to do is sling mud at the people who still make those parts. There is zero requirement to "support" this, but it is definitely appreciated.

This doesn't change any of the other variables, so rather than buying MComplete in roughly 4 years, it would now take 9+ years. My other concern with this path is that it doesn't give credit towards the 50% off sales, so you are committing to full price with no off ramp. While it does give instant access to everything, it comes at a cost. It remains a cheaper path to pick up things during the Eternal Madness/sales (getting credit for each of those), and squirrel away funding to redeem the 20% referral code discount when the bundles go on sale, but that requires a little more planning and discipline.

There are a companies that scarf up OEM releases then resell them, that is nothing new. Not sure about this company specifically though, but it does have a few weird things about it for sure. Many companies incorporate in Delaware (nothing new there either), but as far as a "physical location" listed in Delaware with a Texas phone number comes across as a fly-by-night operation. Delaware requires a representative in-state (there are hosts who literally represent hundreds of companies as the in-state "representative"), so made me wonder if that embedded map is the rep location.

You do not need to pass the KeyStation through the Saffire. Connect them both to the computer separately and follow the advice in the posts above with the Cakewalk preferences window. The Saffire is an audio device (both in and out) and the KeyStation is a MIDI input.

My concern has always been that niche markets can become very limiting, very quickly. After my quest for "No vulcanized rubber, only wooden wheels!" turned my car into a lawn ornament, I eventually caved and got rubber tires

Ouch, I didn't even realize these existed and seems a bit pricier than I expected. Studio One 6.5 just embedded this into the DAW, so that ended up being a wild freebie. Even the SOP upgrade is cheaper than this.

Not sure, why when I read the thread title again it made me wonder what the VSTi is (names are always helpful), but also reminded me of the ones which only process arpeggios internally. If the OP is related to one of those guys, it is another ball of wax to deal with. The OP would need to clarify.

For folks who on boarded with SOP 3.5 during the Gibson debacle and never upgraded SOP, there have been a lot of updates since (track templates was a huge one for me personally). An interesting resource to be aware of is a site called Studio One Toolbox (created by one of the developers) that allows drag/drop conversions of Cakewalk ins (Instrument Definition) files to generate "sound variations" (their name for the articulation maps in Cakewalk). It will also convert Cubase templates and can be a massive time saver for generating detailed articulation maps. That site also is a quick resources to many (374 as of "now") tutorials that are grouped by topic, as well as a free online orchestra to test out chord progressions.

Another quick comment on this since I read the OP title again... there are a handful of VSTis with arpeggiators that only use them internally and will not pass them as an output. I am not sure if the OP is working with one of these though. Some of them with really complex arpeggiators (like Z3TA+2) allow you to drag the arpeggio to a MIDI track as well, which may or may not be an option but would require PRV work afterwards (the arpeggio doesn't follow performance at all doing this). Many internal arpeggiators are fairly rudimentary, so something like Scaler 2 would be another option if the OP is working with one that will not pass arp notes out. Scaler 2 is designed specifically to pass its output and allows for significantly more complex performances.