#No sound from halion sonic install#
#No sound from halion sonic Patch#

#No sound from halion sonic install#

Steinberg have made it a complete pain to install properly. Taking the time to create templates and presets that suit the tasks and jobs you perform regularly, which are tailored to your hardware setup and preferred workflow, is a very worthwhile use of your studio downtime.Doesn't surprise me. Similarly, you can configure each track’s channel strip using Strip Presets and you can use VST Instrument Presets to manage your own definitions of instrument and accompanying instrument parameters. You can drag these presets to a track’s Insert stack in the project window, load a preset into a track in the MixConsole, or drag a preset to the Track List to create a new send effect out of the plug-in or chain. VST FX Presets define an effect plug-in and its parameters, while FX Chain Presets store the plug-ins and settings used by a chain of processors. There are two types of preset for managing effects plug-ins. You can also create multi-track presets containing definitions for two or more individual tracks at once, perfect for creating drum recording or vocal double-tracking set-ups. Cubase comes with presets for audio, instrument, sampler and MIDI tracks. Track Presets define many of the settings for a track – like the name, channel configuration, inserts, pan position, and so on – and can be simply dragged from the Media Browser to your project, or applied to an existing track. Each of these folders contains a number of subfolders, one for each of the different types of preset that Cubase manages. The User Presets folder shows you the ones you’ve created, and Presets shows you all predefined and user-created presets.

The most convenient way to access Cubase’s presets is via the Media tab of the right-hand zone of the project window. It would be impractical to create templates that cover every possible eventuality and they offer no way of speeding things up once you’ve created a new project and started working within it. While project templates are a quick and handy way to configure Cubase for a specific type of session, their usefulness only goes so far. You also need to be aware that any changes to such source-media files will impact on any projects – past and future – that are based on that template. Templates can also contain actual track content, but for this to work reliably with audio and video content, it’s important that the associated media files are stored in a common library location that’s always available to Cubase. Project templates can contain everything that a normal project file stores: audio engine settings, I/O, internal routing, tracks, effects, instruments, drum maps, and so-on. This is easy to do, as I’ll show you in the walkthrough.

While the standard built-in templates can be useful, what we’re really interested in here is the ability to make custom templates, tailored to suit your own rig and requirements. Thankfully, the clever folks over at Steinberg recognised this shortcoming with DAWs, and have packed Cubase with an effective set of tools with which to mitigate the problem.Īs a regular Cubase user, you’ll be well aware that, when creating a new Cubase project, you are shown the Project Assistant window from where you can select a template to act as the starting point for the project. The spontaneity is lost and the opportunities for distraction escalate with each step.

#No sound from halion sonic Patch#

However, with a modern DAW, you have to boot your computer, load the software, create a project, create a track, choose an instrument, find a suitable patch or sample bank for that instrument, set up effects, and so on and so forth. Once upon a time, when that mystical fizzle of inspiration struck, you could just switch on a synth, bring its signal up on a desk, and then start to work out the idea almost immediately. In the absence of a way to run a line-out from your noggin’s internal sound system, then, the best thing to do is to get your idea sketched out in your studio as soon as possible. When it does, it can be about as slippery as a greased eel, with even the slightest distraction liable to return the idea, ghostlike, to the ether from whence it came. There’s no telling when a new melody or beat or sound will suddenly pop into existence in your brain.