StudioNSFW

That has to be the most unfunky funk band I have heard... In order to clear my aural palette - "Dancing Machine" - The Jackson 5 GET DOWN WID YOUR BAD SELF JERMAINE!!

"War" - Joan Osborne

"The Town" - Los Lobos

"Party Dolls and Wine" - Country Dick Montana The greatest entertainer since Dean Martin!

That MF has bit me a couple times!

"I Want To Be Sedated" - Two Tons of Steel

I absolutely love my VS-700. It is completely compatible with CbB (as if it were designed for it even...) . You can use just the console ( I started with just that). Only drawback if you go that route is that the headphone jacks and Input jack on the VS=700C will not work without the Rack unit. I predict you will want the rack unit soon enough if you start down the path - the built in Fantom Hardware synth, 8 great pre-amps and lots of I/O options in general are all great. When mixing and tracking, moving output effortlessly between my headphones, nearfield and farfield monitors is just awesome. And again, it works perfectly with CbB The drawback is that Roland basically abandoned the users, despite the fact the system was not all that old when Windows 10 shipped, (And retailed for over $6000 when new) they never bothered to go through the Driver signing process with Microsoft so the last "Offishul" drivers are Windows 8.1. That said, several people on the forum are using the system on Windows 10 machines using the steps here: http://forum.cakewalk.com/How-to-use-V700-win-8-driver-in-win-10-also-applies-to-some-other-Roland-drivers-m3206046.aspx. With careful shopping on Reverb and eBay I ended up with the whole system for just under $800.

I have some Rolls Battery powered jobs that are very useful. They have a wall wart as well, but by going battery powered they do not introduce any appreciable noise when used in line with a mic or instrument. Two outs each with individual volume knobs. . Before I brought on the VS-700 they were the shiznit for zero latency monitoring. Small enough to easily be thrown across the room without damaging the room, too.

Slamming my ***** in a door is worse. Much worse.

You have to be holding your mouth right or it doesn't work.

Did you try clicking the interleave button on the track and toggling it to Mono?

I think you're going down a futile road. The Sonar Mac prototype is as dead as disco. If you never got a SSO, you cannot any longer as the database to do so has been toggled to read only (I am in the same boat, no SSO at all). You can establish a Bandlab account and use bandlab on a Mac, including thier on line editing, mixing, and mastering tools, but Cakewalk isn't available to you. The cloud based Bandlab is more or less compatible with Logic if you just must stay on a Mac. You COULD also install a Virtual Machine platform like VMWare Fusion, build a virtual PC, and Run Cakewalk in Unity mode....but Cakewalk on a Mac would be a ginourmous refactoring/rewriting effort that Bandlab just doesn't look like they are going to pursue.

"Jimmy Buffet Doesn't Live in Key West Anymore" - David Allen Coe

All excellent points! And THIS is why "Music Row" has as many law offices and accountant offices as studios...

I didn't know they had been publishing software for that long!

My worst critic is my ex wife, who couldn't carry a tune if it had a handle on it.

I bought my building when I walked into the "Great Room" and found the builder had coved the junction of walls to ceiling in there in a continuous 24" radius. I couldn't believe what I was seeing - Aged hardwood floors and a treated ceiling!! Thick plaster walls! As I stood there with the realtor, I didn't say a word, I just faced each corner and clapped my hands, listening to how the room responded. After I did all four corners, I turned to her and said "OK, I'm buying this place." I never explained what the clapping and listening thing was all about, so I am sure she just figured I was summoning the spirits of my ancestors or something. Miking the room and mixing that natural reverb with the DI signal always sounds just as sweet as clover honey. The place was built in 1944 and is the state of the art plaster right before construction moved on to drywall. Only downside is that the steel mesh lath they used makes the whole house basically a Faraday cage. WiFi doesn't stand a chance.

"Sweet Transvestite" - Tim Curry

It really depends on who the songwriter is. if it is original and destined for ANY distribution, you really need to establish at least one publishing entity to capture publishing royalties (thanks to the extremely antiquated licensing model still embraced by the powers that be in the recording industry). Publishing royalties are typically almost the same amount as songwriter royalties. Just about anyone who does publishing will have two or three entities - one for ASCAP, one for BMI, and one for SESAC - because you cannot have the same entity name with more than one clearing house. Many (all serious, professional, I-do-this-for-a-living) songwriters will have a publishing entity, or two, or three...or they work for a "house" that has that all set up already. If someone else wrote it and/or published it, you can still use it for commercial use, you just need to make sure royalties are paid. There are statutory rates available from any one of the clearing houses listed above but you can almost always negotiate a lower rate (based on usage/distribution). You cannot copyright a previously published song or ANY performance, and copyright is completely independent of what production method was used to produce THAT version. That is where ISRC codes come into play. Don't worry about ISRC unless you are creating a commercial CD intended for airplay. ISRC is a numeric string embedded in a .cda file (CD version of a .wav) that identifies the exact performance or iteration of a given song, and ties it back to the label. It is used by the players in all radio stations to report "Spins" and that information gets sent to a company named Soundscan, who compiles the information and makes sure royalties are paid by the radio station to the song writers and publishers. If you are not the songwriter or the publisher, you can still get mechanical royalties as a performer, which are almost nothing. I have gotten quite a few checks that were for less money than the stamp on the envelope needed to mail the check. If you get with a major label, one of the contract stipulations will be that the label will get the publishing rights for all songs created during the term of the contract - this can be negotiated down to "for xx years" after which the publishing can revert. And, to answer the original question - you ABSOLUTELY can use Cakewalk to produce commercial music, and they don't get a split on the royalties.

"Streets of Baltimore" - Bobby Bare

"Blinded By The Light - "Bruce Springsteen - "Cut loose like a deuce, another runner in the night"

"Freddie's Dead" Curtis Mayfield

Also, install an alternate browser to Internet Exploiter. BandLab platform was built around Chrome and if you don’t have Chrome installed, and are just using Internet Exploder things probably won’t work right. Some functionality in BandLab doesn’t work in Firefox, either.

email support. I don't have an SSO account but they were able to find my licenses anyways, including my CA-2A license. Now, if I only had a way to get the installer...

The oh so awesome @Creative Sauce produced a video that MAYBE has the answer. He describes a MIDI over TCP/IP app that can be used to control Cakewalk. I dunno if this would work but it might be worth a shot.