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Don't forget to check out the new 3rd party presets! Some of them are excellent, and show off the capability of this synth! Especially those by Jacky Ligon.

It shouldn't be an issue for most folks but the Surge Synth team are only distributing built binaries of v1.7 as a VST3 and AU plugin. Details here from the developers: https://surge-synthesizer.github.io/formats It has mainly to do with the open source licensing path that has been chosen by the team. But you are free to build your own VST2 from the source code, if so desired. VST2 is not free and open source software, and Steinberg, the copyright owner of the VST2 code, is no longer making licenses available to developers.

This has an internal arpeggiator and is on sale for $32. Kontakt Player compatible. https://soundiron.com/products/hyperion-strings-micro

I already had it, and it appears to be 32-bit only. Good old rgc:audio synth, before Pentagon I, and z3ta+ ...

I did mention above that the Reason Rack works OK in Studio One 4. And yes it was a VST3.

Changelog here: https://surge-synthesizer.github.io/changelog/ Some very good new 3rd party content: New dark skin:

https://surge-synthesizer.github.io/

Same here! I guess that Reason Rack isn't communicating correctly with Cakewalk, or vice versa. If I use another VST, such as IK Sampletank, I can use the search box within the plugin and 'T' doesn't trigger a hotkey in the host. If I try Reason Rack with another host such as Studio One the plugin search box works, even if I type a letter assigned to keyboard shortcuts in that host. Close the plugin window, and the shortcut works in the host. By the way you posted this issue in a thread about an entirely different topic. Might try starting your own thread. The original post was about using the computer keyboard as a MIDI keyboard to send MIDI to the plugin. ?

Element 2 working fine with Cakewalk here. Both the VST2 and VST3 versions.

And also nothing quite as cool as using an internal sequencer/arpeggiator in one VST to drive the tone generator in another. For one example the Ample Sound bass riffer can do that. So if you have another instrument you would rather use for the audio, just send the riff over to it via MIDI and mute the audio in the source VST. ? One problem that this solves for me is the Ample bass that I have only has picked samples. By using MIDI output I can send the riff to a fingered bass instrument...

Yes, ProjectScope. From a thread on the old forum: http://forum.cakewalk.com/ProjectScope-for-Sonar-Project-Files-CWPs-updated-to-support-new-Sonar-project-features-m3584169.aspx

Yes, you were correct with the multi-timbral setup. It usually works with Xpand!2, so I don't understand why you had an issue with it. But I frequently use it with SampleTank and/or Kontakt Player. Both are 16 channel multi-timbral, like TTS-1, but capable of much more interesting instrument sounds! ? Your 2nd point regarding multiple instances is a good one. I have found that using multi-timbral mode in the latest version of SampleTank 4 MAX brings my DAW to its knees with more than 2 or 3 tracks. Apparently the plugin instance flows most or all of the signal processing through a single core. Since IK Multimedia has optimized the memory footprint of the ST4 plugin, it would probably be advisable to use multiple instances of the plugin, rather than load up one instance multi-timbrally. Unless you are running the latest multicore beast CPU. Plus with multiple instances you always have the option to freeze any tracks you are not working with at the moment, thus freeing up mucho CPU!

Was that all "MIDI out" from Omnisphere? I don't own it, just curious...

Well the topic of the post was "MIDI out", so proceeded to answer that one. If the topic had been "How to send MIDI channels to a multi-timbral VST", would have gone that way. By the way, the OP liked my answer, even though the question wasn't entirely clear, as you pointed out. Possibly an English translation thing?

I wonder if he did regular server backups? Industry standard I would think... ?

Me too!!! ???

It's a Waves one-of-a-kind as far as I know. I prefer the Pace iLok Software Manager to Waves, and that's also a very unpopular protection scheme. But Pace has never once lost my licenses after an upgrade! But the background Pace License Service always running annoys many folks. I actually much prefer a simple serial number tied to my email. Second choice would be the Arturia Software Center, Izotope Product Portal, or Native Instruments Native Access. Those have been trouble free for me. Not intrusive, and they just seem to work. Plus they install my software and product updates for me, as well as keep up with my authorizations. All different and proprietary. All OK by me, and no full-time background service required. Sort of like the BandLab Assistant, but much better! However, XLN Audio (using the XLN Online Installer) ties your activations to your system software ID. Which by the way always breaks the authorization with every semi-annual Microsoft Windows 10 Feature Update (which is actually a Windows version upgrade, which includes a new ID). Easy to fix by going to your account at the XLN website and removing your old computer ID and authorizing the new ID (funny, it's generally the same computer name). But annoying. I didn't cover them all here, but hopefully the few examples show there is no industry standard for license protection. Recommend familiarizing yourself with the license details for the products you own.

Old deal... expired... So JRR is still back in the 2018 way back machine!

And if you do lose all of your licenses (even due to their silly product protection hack), you are only entitled to a Waves license recovery once per year free of charge.

They are online again, and I can login to my account. But something still isn't right. No Studio One 5 yet, just Studio One 4. Did they get hacked?

That would be ideal! But I don't wish to pay for WUP. It's a subscription basically, and I am against that in principle. Why can't they just be like everyone else and issue you 2 licenses? It's a pain in the rear to move your licenses to the cloud, just so you can move them temporarily to a different computer. I have decided not to buy any more Waves products due to this silly limitation.

Waves licenses are tied to your hardware. Certain changes can make them go away, such as deleting that hardware without realizing your licenses are linked to it. I can imagine it would be wise to move them to the license cloud prior to any major system upgrades. I found that in my case they were tied to a virtual ethernet network loopback adapter. I deleted it, and boom! No more Waves licenses. I had to use the Waves once-a-year free license recovery to get them all back ( my Waves licenses were all on my local machine, not the cloud). I assume you must have returned yours to the cloud before the big update? The alternative method for Waves license storage besides the cloud, or your local machine, was mentioned by Waves support is that you can move them to a USB flash drive. That makes it a USB dongle that you can move to any machine where you have installed the Waves plugins, but not yet activated. The plugins will be activated on whatever machine that you have the flash drive plugged into. Solves the problem of only having one license if you regularly move between 2 machines, such as the home and studio, or desktop and laptop.

I think that for a DAW to be mainstream, it cannot disregard the education market. Without usable notation it is a non-starter in that segment. Music education is all about reading and writing those little dots on the staff. I'm sure that there are lots of potential future users still in diapers. They will adopt the tools that they learn in school one day. It would be smart to not miss out on that opportunity. I think that PreSonus is looking at it from both perspectives. Popular music and traditional music education.

Exactly what I was thinking... ?

I think there has been some feedback over at PreSonus that lack of scoring in Studio One was one of the things keeping the professional film and TV scoring crowd from making the switch to Studio One. If they can strike a balance between them and the beats crowd, then I think they will be able to make lots of folks happy.