One of the most simple but subtle causes of "no sound" is remarkably easy to remedy . . .
This happened to me after I got a new model MOTU external digital audio and MIDI interface, and it was puzzling until I called MOTU technical support . . .
Apparently, the standard of outputting to "Main 1-2" is not always the default output setting . . .
The advice from MOTU was to try different channel pairs for the output, and this solved the problem
NOTION defaults to 1-2, but at the time MOTU was using a different default output channel pair . . .
I think it was a mistake by MOTU, since a while later they started using 1-2 again . . .
This happened again when I started using Analog 1-2 instead of Main 1-2, which I did to connect to some external processing equipment for my studio monitors, and again there was "no sound" from NOTION . . .
So I did the same procedure the MOTU folks suggested, which is to try all the output channel pairs until sound appears . . .
In my current setup here in the sound isolation studio this maps to using the NOTION 3-4 channel pair, which also is required for Studio One, Reason, and so forth . . .
Once you know about it, the solution is easy; but it's not something everyone--including me--is born knowing . . .
BUSSES AND CHANNELS
On a related note, it's very important to learn about busses and channels , as well as ports . . .
Some of it applies to configuring MIDI, and other aspects apply to ReWire and lots of other stuff . . .
When you are doing ReWire MIDI with Studio One Professional as the ReWire host controller and the host for VSTi virtual instruments, you need to send the output of NOTION ReWire MIDI staves to specific locations, and you need to map this to the bus and channels for the respective VSTi virtual instruments . . .
It's easy to do, but initially it takes a few minutes . . .
However, once you develop a system for creating songs, you can save properly configured NOTION and Studio ONE projects and then use them as predefined templates, where the strategy is to open a pair of matched template files and then immediately do a "Save As . . . " to create the new files for the song layer . . .
This works nicely when you have a well-defined "basic rhythm section" and other sections comprising 10 to 12 VSTi virtual instruments each in Studio One . . .
If, for example, your "cookie cutters" for songs have a specific type of bass configuration that includes VST effects-plugins with specific presets, then this can be a template . . .
Generally, I like to use the Höfner Beatle Bass that came with one of the IK Multimedia libraries for SampleTank, along with Cyclops (Sugar Bytes), and another type of synthesizer for bass . . .
I like to have a bit of FUN with panning and motion, some of which I call "sparkling", and this maps to having three electric bass staves, where one is panned far-left; one is panned top-center; and one is panned far-right . . .
I do the bass synthesizer the same way, but I usually have just two staves of Cyclops (far-left and far-right) . . .
In total, that's eight ReWire Staves; so having everything pre-configured and saved as templates (a) ensures that the bass sound is consistent and (b) saves time . . .
Since ReWire MIDI is a very efficient way to manage the music notation in NOTION--mostly because NOTION is focused on doing music notation and generating MIDI rather than hosting virtual instruments--it's practical to have a lot of ReWire MIDI staves in a NOTION score . . .
There's more to this strategy, but the important things are (a) that it works and (b) that it makes it easier to create a song based on a particular "sound", where the idea is that an album worth of songs probably need to have a consistent "sound" . . .
Using the Beatles as an example, you develop a set of templates for the instrument played by each Beatle . . .
It can be any musical group, but regardless once you do the configuring, producing, and so forth to develop the "sound", you don't need to reinvent the "sound" for each new song . . .
You can always change or modify your "sound", but the general idea is to spend less time configuring computer stuff and more time focusing on the music . . .
This is a YouTube video I did in March 2018 to show how to do the ReWire MIDI strategy with Studio One Professional and NOTION 6 . . .
After doing a lot more work, this is the completed song . . .
What I call the "ReWire MIDI" strategy is explained in detail in the following topic in this forum . . .
Project: ReWire ~ NOTION + Studio One Professional (PreSonus NOTION Forum)
When you are doing everything by yourself, the best strategy--and the only strategy, actually--is to compose and produce songs in layers . . .
Having a set of "cookie cutter" templates makes configuring everything vastly easier . . .
It's a complex activity, but it's complex no matter how it's done--real musicians or by yourself using a combination of real and virtual instruments--so the complexity aspect is part of the territory . . .
When you do everything yourself, you are the composer, arranger, producer, audio engineer, and for real instruments you play, the musicians, as well as at least one of the vocalist, if you sing . . .
That's a lot of hats to be wearing, and at some point you need to define a "sound" . . .
Once you have defined your "sound" and determined which effects plug-ins to use, you can create templates, and then the focus shifts to making music instead of messing with computer stuff . . .
If you don't do this part of the work, then each instrument and vocal is new and needs to be given a "sound", which is not a particularly bad strategy, except that it wastes a lot of time . . .
Using the Beatles as an example, I think the best strategy is to create Pretend John, Pretend Paul, Pretend George, and Pretend Ringo--each with a very specific instrumental "sound" . . .
There are a few rules, and one of them is that there isn't so much variation in certain instruments . . .
It's the same with Elvis Presley, The Jordainaires, and the rhythm section musicians . . .
Actually, it's pretty much the same with everything . . .
[NOTE: These songs are best appreciated and understood when you listen with studio quality headphones like SONY MDR-7506 headphones (a personal favorite) . . . ]
There aren't so many bass and drumkit sounds, which is the same for electric guitar, grand piano, horns, strings, and woodwinds, as well as everything else; but for recorded music it's all about producing and audio engineering, where the goal is to be able to hear everything distinctly . . .
On the good side, the producing and audio engineering aspects introduce rules that, even though they are complex, tend to make a lot of decisions very simple and easy to make . . .
Lots of FUN!
The Surf Whammys
Sinkhorn's Dilemma: Every paradox has at least one non-trivial solution!
This is from page 1.12 of the Notion User Guide:
Troubleshoot Notion Sounds
In rare situations after an installation or major upgrade, Notion may not be able to work with the recorded samples needed to produce instrument sounds in playback . Either you hear no instruments or you only hear a piano for each instrument . Go to the Menu Bar and select
Windows: File > Preferences; Mac: Notion > Preferences .
In the dialog box, click the Audio Tab . Then click the Locate Samples button . Although the software can take several minutes to complete this procedure, this often corrects an audio problem .
Also, check your Audio Setup under Preferences (same page in the User Guide).
If you still have trouble a support ticket will be quickly responded to by support staff. They're very helpful!
macOS Mojave 10.14
2 - 500 gb + 1 tb external SSD for sample libraries
Focusrite Forte audio interface
Nektar Panorama P1 control surface
Nektar Impact 49-key MIDI keyboard
Focal CMS40 near-field monitors
JBL LSR310S subwoofer
Notion 6 + Studio One 4 Pro
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