mettelus

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.

I would definitely start with Alesis and their forum or even tech support. I would assume that all of their drum modules are configured similarly, and what you need to know is specific to their kits rather than the host (DAW).

Is all good, you actually found it!

^^ Yeah, this has been requested for a long time (song pre-roll). Since the beginning of a song can possibly be jam packed with events, it often manifests itself by dropping the first note(s) in the song. I have also defaulted to starting all projects on bar 2 or 3 just to be sure. That habit is so ingrained now that I do it in every DAW.

Most cymbal chokes that I have seen are often their own key switch (MIDI note) within the sound module. I just took a look at the manual and it doesn't seem to identify the actual switch though, so I am a bit baffled. When recording MIDI into Cakewalk from the kit with the choke firing properly, it should also be recorded. You might need to check the Event List for that track after recording some MIDI to find details on what MIDI the kit is passing out. It is possible (although I would think highly unlikely), that it is only processing the choke internal to the module, but not being able to find info on that in the manual is concerning. I also did a quick search for a key switch list, and it only returned sites selling the product.

Wow, I cannot recall cakewalk itself ever throwing page faults on me, so that is just plain weird to see. Did this also happen with the 22.09 version or is it specific to the 23.09? @Jim Roseberry is a good person to reach out to as well, since he custom builds the newer machines and keeps up with the intricacies of them. I am certainly not up to date with the i9s, but he knows the details for tweaking them.

Even if distributed, there are processes that have to run end-to-end on one core/thread, so you may be seeing one of them. That CPU spike is nutty though, and much like what I saw when my cooler app was enabled (just on all cores for me). You may want to try something simpler at first, like going into the UEFI and saving your current profile, then go into EZ Mode and just set that to normal and see where that lands you on performance. I tend to default to 1.03 for XMP settings anymore, since once overheating begins I have seen a slew of page faults get thrown (LatencyMon will see these too). Once that starts the performance tanks out fast, so you may be seeing the computer trying to decipher the gibberish that one core is throwing at it.

The VST you are sending MIDI from needs to have MIDI output enabled. Once that is done, that should be viewable as an input to any other MIDI track. Here is an old post on it.

I had to look this up since I have seen the name mentioned a few times but never know what it actually was. Looks like a beefed up version of the discontinued Riffstation with a PRV and RMix thrown in (more features than Riffstation had). It is good to see there are still contemporary options available.

1969 R-Code Mach I. I actually worked with a guy for 3 years before I even realized he had one. He only wanted 40% of what it was worth at the time, but a friend of his talked him out of selling it Then to add insult to injury, I am following a tow truck going up I-81 near home less than a year later towing one (not R-Code though). As I get closer to it, he had written on the back window, "This is why to be nice to your brother-in-law. He might give you a '69 Mach I!" Oh wait... MUSIC gear... hmmm... I am good.

This is the most concerning part of your post. Have you overclocked your machine at all? I have a Corsair cooler and had to disable the Corsair LINK 4 app because that was actually tweaking the UEFI on its own and setting targets well above what the CPU was capable of (like 5.3GHz) even if it had been delidded, which it is not. The machine was cycling high and low like a roller coaster till I disabled that app. Every time it took off the fans would kick on in about 3 seconds. Based on that experience, check to see if you have a cooler app running. After disabling that and giving control back to the ASUS MOBO, I have had no issues. I picked up on that by checking the UEFI manually, and it kept getting changed to a value I had definitely not set for it. For me, that bun file unpacked and loaded in about 2 seconds, saved as a cwp, closed and reloaded, and was the same.

You certainly could do that, sure, but if you are going to do any post-production, then the baked track is superfluous (you have to run the FX bin anyway to record the other track). There is nothing stopping you from running FX over and over on the same audio, when tracking, mixing, etc.

I would personally be hesitant to bake FX into the recorded audio (i.e., using a patch point), but some audio interfaces have FX built in and will allow you to pass those to the DAW (rather than the raw audio). I am working with someone on with their audio recording projects, so can pass on some quick advice from that. Input side (very important to work this out before any FX parts): A large diaphragm condenser will capture the most, but also has its own associated "clean up," but this can be done with a simple FX chain. For a condenser, check rotation of the microphone with it armed (i.e., sound checking to see where the mic reacts best for your setup). For this application, a 60 degree rotation (yes, I said 60) mitigated a massive amount of sibilants, so the post-production became minimal. Always do a sound check before starting (arm, input echo on, FX bin disabled). Using something with decent level plosives is a good routine, and those should just peak into the orange (will give the best signal-to-noise ratio for what is recorded without clipping). Once there is a good grasp of this for your situation, the post-production FX get lighter and lighter with experience. FX side (FX bin): This may or may not be feasible depending on latency, but if possible, you can turn on the FX bin while recording. This still records the raw audio to disk, but you will hear very close to a "final" render. By not baking in these FX, you can still tweak them in post-production. The FX "typically used" are: Noise Gate: set below vocal level, fast attack, medium release. This is to catch the noise floor only. EQ: HPF somewhere in the 100Hz range. This is to remove the low end before compression. Compressors: 2 were used in this case because the plosives were so strong. First was set to catch plosives, high threshold (~15-20dB), 4:1 ratio, fast attack/release, and very little makeup gain (around 2-3dB). This was just to mitigate the plosive peaks. Second was for the core vocal, medium threshold (~25dB because the first raised the entire track), 2:1 ratio, fast attack, slower release, a bit more makeup for this one. Another EQ to tailor the result, mostly used as a de-esser. Setting the FX chain initially is best after recording a track, then you can tweak it better to a "very close" setting for your voice. Also be sure to save this as a track template as you build/refine it, then you can simply insert your template, sound check, and take off recording. For the above situation, they do not have access to paid plugins, so I went with Sonitus Gate, TDR Nova, and TDR Kotelnikov. These are all free, but also light on the CPU hit, so "should" be able to be used while tracking. I would shy away from any of the CPU-hungry plugins available if you want to use them when tracking.

There is no real complexity to a gate. It is simply a threshold trigger, volume reduction when enabled, and how fast it opens or slams shut (attack/release). A default of around -50 to -55dB is usually good in most cases with a fairly hefty reduction when closed, quick opening (fraction of a millisecond), and slow to close (roughly 200-300ms or even longer so notes decay naturally). Just about every amp sim I can think of has a noise gate built in, but even the built-in Sonitus Gate will perform that function.

Just posted the same thing in another thread... only the version is an upgrade, the dot releases are included in each version. Studio One historically releases the version every 2 years (paid upgrades), with the .5s on the off years (they are free). SO Pro ends up being around $60 a year to keep updated (always a sale on that upgrade somewhere for around $120 every other year).

That seems to slip under the radar for folks, but historically the "upgrades" come every 2 years (whole version releases), with the .5 releases on the off years. Only the whole numbers matter for "buying" the upgrades, but the .5 releases on the past 3 versions have had some heavy hitters in them.