Kanthos

Well, as Neblix said, you can actually do that; you just have to record the audio coming out of the keyboard as well; the USB or MIDI connection won't do that.

Hmm, I don't think you really understand MIDI tracks. See this screenshot: it shows that a plugin called EZPlayer is generating MIDI and feeding the MIDI to the MIDI Track (EZPlayer 01), and the MIDI is being sent out to Superior Drummer. The only significant difference between MIDI and Instrument tracks is that the Instrument track is tied to the plugin directly, while the MIDI track can be directed to any track. There's no quality difference between MIDI and Instrument tracks if you send the MIDI data from the MIDI track to the same plugin that's 'built in' to the Instrument track. Let me break it down even further to simplify things. An Instrument track is a MIDI track plus some other stuff. In both cases, you're recording MIDI data from your keyboard. In a MIDI track, the MIDI data you've recorded needs to be sent somewhere: to a plugin or to another MIDI device (you chose to send it to the Microsoft Wavetable Synth, which isn't actually part of Cubase; it's a MIDI playback device that's low-quality and part of Windows; you never want to use it). MIDI data isn't audio; it's a set of instructions about which notes to play when and how loud, and which controls (sustain pedal, etc.) modify the sound. Your keyboard produces MIDI, but either it's connected or set up wrong or it doesn't produce audio from an incoming MIDI signal. The general idea is this: Keyboard (generates MIDI) -> Cubase (record MIDI to a MIDI track) -> IF MONITORING IS TURNED ON, the MIDI data goes to the output device or plugin selected for the MIDI channel or to the plugin chosen in the instrument channel -> Plugin/output device turns the MIDI data into audio. You only need monitoring when you record (otherwise the data isn't send anywhere as you record it, though it will be sent on playback later). To turn on monitoring, click on the little speaker icon for the track that's immediately to the right of the record icon. Kontakt is a sample playback engine, just like Halion. Unlike Halion, it supports a lot more audio formats, and there are all kinds of people putting out sample libraries that require Kontakt to be used. For example, this. You definitely don't need it, though as you progress as a musician, you may find that you want better-quality sounds or sounds that you don't already have, so you might need to get Kontakt at some point (or better yet, Native Instruments Komplete; a bundle that has Kontakt and a bunch of other software instruments and sample sets).

MIDI is really simple. Ignoring things that complicate it slightly, MIDI messages are usually 3 bytes. The first byte gives the message type and the channel, and the second (and, if needed) third bytes make up the rest of the message. As an example, a Note On message might look like 92 40 7F. This is in hexadecimal notation; if you don't know what it means, google it, but basically, each 'decimal place' goes from 0-9 and then A-F (so A = 10, B = 11, C = 12, D = 13, E = 14, F = 15). The Note On message above works as follows: the 9 means note on, and 2 is the MIDI channel, starting from 0 (so 0 = channel 1, 1 = channel 2, and 2 = channel 3). 40 is the note number, again in hex (everything is in hex, and Bome's works that way too, so you'll want to make sure you understand this). Off the top of my head, I think 40 is note E4. Lastly, 7F is the note's velocity, from 0 to 127; 7F in hex is 127 in decimal. Altogether, that MIDI message coresponds to note E4 being played on channel 3, with velocity 127. You can google to find a list of all the MIDI messages and what byte means what in the message. Even though Bome's has an option to display the message in a readable format (eg. C0 40 7F would be displayed something like "Ch. 1 Sustain Pedal, Value 127"), you'll still have to enter the data in hex. Now, for a real example. Bome's is made up of presets and translators; a preset can contain a number of translators. Here's a rough outline as to how you'd do the 'channel-switching' thing you want. Keeping it simple, let's say you've got a piano instrument in FL Studio on channel 1 and strings on channel 2. Both are set to receive MIDI input at the same time. 1) Make a preset called "Master Channel Switcher". Right-click it and make sure "Always On" or whatever it's called is checked off. 2) Within that preset, make a translator called "Piano On". It'll be the following: "When the MIDI message 90 48 xx is received, turn on preset "Piano" and deactivate all other presets except those marked as always on, and stop processing". The 'xx' means that instead of specifying an exact value, this will match any value and store it in a variable called xx; the variable can be used elsewhere in the same translator only. In this translator, the value doesn't matter. What this means is that a) the translator is only processed when a MIDI event 90 48 xx is received - 9 is note on, 0 is channel 1, 48 should be C5 if my math is right, and xx means any value for the note's velocity is fine. If note C5 on channel 1 is received, we're going to turn on a preset named "Piano". We haven't created it yet, but we will. c) We also turn off any other presets (eg. the upcoming "Strings" preset) d) we don't turn off any presets that are marked 'always on' - in other words, we can't deactivate the "Master Channel Switcher" preset that is needed to switch between the other presets, and e) Stop processing; no other translators are processed, to the C5 note we received doesn't sound. 3) Do the same thing, except maybe use 90 49 xx (C#5) activates the "Strings" preset. 4) Make a "Piano" preset. It'll have several translators, something like this: 80 xx yy becomes 80 xx yy 90 xx yy becomes 90 xx yy C0 xx yy becomes C0 xx yy and so on. Looking this up in the MIDI chart, the three rules I gave you are that any note off messages, note on messages, and control change messages on channel 1 are sent to FL Studio on channel 1. 5) Make a "Strings" preset. Uncheck it so that only the piano preset is on by default. The Strings preset will have similar rules, but you'll want to change the channel of the outgoing message, since in FL studio, your strings are on channel 2. eg. 80 xx yy becomes 81 xx yy. I've never used ASIO4ALL, and I haven't used FL Studio in 5 years. I'd start a new thread for that. That depends. Bome's will let you turn a keystroke combination into MIDI, so if you're trying to use your computer keyboard to control something that's MIDI-assignable in FL Studio, then yes, you can do this.

No problem; I've left keyboard forums before because people got lazy and asked for the basics over and over and most of the senior members encouraged that and didn't like me directing people to the manual, Google, or the forum's search page. Sorry if I came across a bit too harsh Your English isn't perfect, but it's quite understandable (and often better than people who spend all their time texting ) I'm going to disagree slightly with Neblix as to which track you could use in Cubase. An Instrument track will definitely do the job, but depending on what you're doing, you should consider MIDI tracks instead. The two are somewhat similar, except that a MIDI track doesn't have a single plugin built in. Instead, hit F11 to bring up the VST window, load a VST into a particular slot, and then go to your MIDI track and make sure the input is coming from All MIDI Inputs (or from your keyboard specifically) and is being sent to the VST you've loaded. The main reason to use MIDI tracks instead of Instrument tracks is if you want to send more than one track of MIDI data through the same plugin, especially for multi-timbral plugins like Kontakt. Say you're doing a string quartet. If you use Instrument tracks, you'll need 4 instances of Kontakt, since each instrument in your quartet needs its own instance. If you use MIDI tracks instead, you have four MIDI tracks, one instance of Kontakt that has the four string sounds loaded, on different MIDI channels, and Kontakt can use a different output for each sound so that you can adjust EQ and other effects independently. Loading 4 instances of Kontakt takes more memory than loading just one, and it keeps all the strings in one place, so this is usually the better way to go.

FL Studio probably can't handle any of what you're asking for, without some help. (Anyone who actually uses FL Studio, please correct me if I'm wrong on anything). Really, any standard DAW isn't built for this kind of thing, not even Ableton Live (which is only good at playing back pre-recorded MIDI or audio clips, not at being a good live host for a keyboard player). The one thing I can't help you with is figuring out which controls in FL Studio are MIDI-assignable and which aren't. There are two ways you can go about doing this. The first way is to get some software that actually works well as a live host, and the second is to get some software that acts as a MIDI Mapper that sits in between your keyboards and FL Studio. For the first way, there are two products I'd recommend on Windows: Cantabile and Forte. The basic idea here is that both products save their entire state as a preset. They can load all kinds of plugins (make sure that the instruments you want to use from FL Studio can be loaded by another program as VSTs - obviously any instruments that are FL Studio-only can't be loaded elsewhere) and each preset saves the exact state of all plugins. You can enable or disable individual plugins as part of the state. What you'd want to do is disable all plugins except for the ones you want playing at a certain time and save that as a preset. Once you've made all the presets you need, you can put them in order and use a single button or key to step through the presets in order; much easier than having to remember that, say, C5 turns on pianos, B4 turns on violins, Bb4 turns on a synth lead, etc. You could instead use software like that strictly to process MIDI and route things into FL Studio the way you want. If you're interested, I've tried both and while I preferred Cantabile, I found Forte to be fine as well, and I'm selling my copy at half the asking price. The alternative, using software to process MIDI, basically means getting Bome's MIDI Translator, and from what you're describing, you're going to want the Pro version, which isn't free. What you'd want to do in this case is something like this: 1) Load instruments into FL Studio, with each on a different channel. If you run out of channels, use a different MIDI Port (Bome's creates up to 5 virtual MIDI ports for you; you'd set Bome's to send output to Bome's MIDI Port 1 OUT and have FL Studio receive from Bome's MIDI Port 1 IN, and then any data you send from Bome's ends up in FL Studio). Bome's would of course get input from your MIDI keyboard. 2) Make a preset in Bome's that will send the right incoming MIDI data to a single channel. You'd have one for piano, one for violin, etc. They'd all be similar other than the MIDI channel you were sending to and the controllers (you might not want sustain pedal being sent to a synth lead sound or pitch bend on your piano). You'd have to map everything explicitly here; anything not mapped wouldn't get sent. 3) Make one other preset in Bome's, set to always be on, that does the switching between other presets. In other words, it will have a rule saying "When the note C5 is received on channel 1, activate the Piano preset and deactivate all other presets, except for those that are always on". (The Always On part is because you want your switching preset to always be active no matter which other preset is active). 4) Doing sampled sounds is somewhat similar too; in your example, you'd have a rule in your Piano preset that sends C4 somewhere else in FL Studio (eg. using a different channel) to trigger the seashore sound. Since that rule only exists in the piano preset, the piano preset must be active for this to work, which I think is exactly what you want. So there are your choices. Sadly, none of them is free, but none of them are all that expensive either. I've played onstage at various times with all three choices, so read over what I've said here, ask any specific questions that you need to, give it some thought, and figure out which solution you want to go with, and I can help you get it up and running.

I suggest reading the Cubase manual or google for tutorials. You're not having setup problems; you're having "I don't have a clue what I'm doing" problems. Which is fine; everyone has to start somewhere. But I really hope you don't intend to ask every little question along the way that you run into without trying to figure it out yourself first. It's one thing to say, "I tried to do this and it's not working; what might I have done wrong"; it's something else to ask, "Take the time to type out basic things that I can easily find myself if I can be bothered." To answer your question though, try this.

That article mentions an alternative: Hit F11 to open the VST window, load your VST into one of the slots, and create a MIDI track for that VST. Also, you could try just hitting Enter instead of clicking a button; on most dialogs, Enter and Escape correspond to the Ok/Accept and Cancel/Reject buttons. That might work even if the buttons aren't shown.

I'm not an FL Studio user, but it's possible to do most of what you want to do, if not all of it (the only concern being which things FL Studio will let you control via MIDI; virtually everything in most plugins should be MIDI-controllable). The bigger problem is how you want to organize things. If you describe what you want to do in a bit more detail, I can help you out with this. I've used a laptop on-stage in my keyboard rig before, and I'm in the works of writing software that will let me use my laptop in even better ways, effectively turning it into both a stage piano (where it's easy to pick and sometimes tweak sounds to make a preset quickly on the fly) and workstation (where you've got great depth of control and choices, but doing things on the fly is cumbersome). I've given the laptop-in-a-keyboard-rig thing a lot of thought over the last couple years, so tell me more about what you're doing and I'm sure I can point you in the right direction.

Harry'd be 37, as would Ron and Hermione, since their birthdays are earlier, and Ginny would be 36. The Battle of Hogwarts would be close enough to the end of a school term, so jumping forward exactly 19 years would also be at the end of a school term. Since the epilogue happens as Harry's kids are boarding the Hogwarts Express to go off to school, it makes the most sense to say that it's 19 years and two months later. Harry is 17 for the majority of the book, including the battle, so exactly 19 years from there, he'd be 36. BUT, he has another birthday, at the end of July, before the school term starts, so he'll be a young 37.

Clearly you haven't read the book in a while. There's a lot of story-focused sections in the last half of the book, some of which are crucial to understanding the series as a whole (Snape's memories, in particular).

That's the one remake I'd love to see too. FF VI was always my favourite of the series until I played IX. I'd love a 3D remake, preferably of the GBA version for the extra dungeons.

I didn't read any of the books or watch any of the movies until this past October. I borrowed the books from a friend, read them all in three weeks (not bad when you've got a full-time job), and watched each movie after I read each book. We all know that movies made from books, especially books as long as Harry Potter books, are going to be missing a lot of details, subplots, and even characters, but what I dislike most about the movie series (which I'd say are not bad, but nowhere near as good as the books) are the tiny changes put in for no good reason and the way that they often undercut JK Rowling's tendency to provide all kinds of clues in the books that don't get resolved until much later. Example of a pointless change: Dumbledore and Harry go to recruit Professor Slughorn, who's trashed his house and turned himself into a chair. In the novel, Dumbledore knows things were staged because there's no dark mark above the house. In the movie, despite the fact that they showed the house from the front and could've easily shown the sky, and that they'd shown the dark mark onscreen as early as the start of Goblet of Fire, they used dragon blood as the clue. Why change that? Example of early reveal: In Half-Blood Prince, Harry and co. sees Draco walk into Borgin & Burkes but don't really know what Draco wants, other than that he's having something repaired. It's not until the end of the book that you find out it's a vanishing cabinet, and that's how Draco gets the other deatheaters into Hogwarts. In the movie, Harry has Arthur Weasley use his ministry connections to look into it, and halfway through the movie, Harry knows what Draco was looking at in Borgin & Burkes. Combine that with several scenes of Draco working on the cabinets and Arthur's description of what they do, and it's not hard to piece together, pretty early on, that Draco's trying to get people into Hogwarts.

Ok then, find some friends and get them to agree to have an audio recorder in the room while they're having sex. I don't think you're going to find anyone who has sampled moans and can just give them out. That's...not a common need...

Sonic, you're arguing with Snappleman. How many remixes do you have posted here? Where's the link to your website in your profile, showing off your clear skill as an artist? Oh, you don't have any posted mixes or a website? Snappleman does. We know he's got skill and experience. What do you have, besides the tendency to be an ADHD ping pong ball, posting threads and questions that could generally be answered by googling or trying it yourself? So, your problem is a bad CPU (or not knowing how to make better use of it by freezing tracks, etc) and/or user error. Sounds like a great reason to blame the sims.

Sample a porn movie.

You can freeze as many tracks as you like; if you're exporting individual tracks though, as far as I know, it's one at a time. I use the 64-bit version. Almost all my plugins are both 32 and 64-bit anyway, and with the 64-bit version, I'm not tied to a small amount of memory (granted, I only have 6 GB, but still).

Running as an administrator isn't going to make Cubase treat a 32-bit plugin as a 64-bit plugin out of the box. Like I said, you need to use jBridge or Cubase's built-in bridge.

I don't think you need an invite anymore; you should be able to go to plus.google.com and just sign in with your Google account. If that doesn't work, PM me your google account and I'll hook you up.

I know this one off the top of my head since I ran into the same problem. The only way I could find to get around it was to use jBridge. I've had the odd issue with jBridge and plugins, though not with the one Waves plugin I have so far (though I've hardly used it). Kind of annoying. Cubase has its own bridge built in, though I haven't heard good things about it in previous versions; I'm not sure if/how Cubase 6 improved on it. You could certainly try the built-in bridge before paying 15 EUR for jBridge.

http://gplus.to/mjchase

According to this, Ctrl+Click to return to the default value. I haven't tried it myself and don't have my Steinberg key within reach to confirm, but I remember reading that somewhere previously too.

You have my support. The only really challenging thing I've done was a no-materia game of Final Fantasy VII, and it wasn't even that hard.

It's fireday, fireday, going to get down on fireday... happy birthday, guys!

Don't know why I didn't think of this earlier. Read through this thread, and also watch from zircon.

If the tone's too thin, you're probably not tweaking things to your liking. You might want to try the plugin that was just released with the Shreddage update (Peavey's Revalver HPse), though there's really no reason why Guitar Rig wouldn't be good enough.