slartabartfast

Of course there is no such word as taxpro, except as the brand name of some tax prep software, but who is going to niggle about a bad pun.

Some discussion here under complex meters: https://music.indiana.edu/departments/academic/composition/style-guide/#meter To me it sounds like the best policy is to make a note of how you want the beats placed on the score and then use a more common meter, supplemented by numeric notations if that helps, leaving it up to the performer to work it out. After all the standard notation is just meant to communicate how the music is to be interpreted. Trying to jam uncommon music into the notation framework suitable for the common practice period is likely to confuse contemporary readers on first sight at least.

I would think the main issue with the EULA would primarily have to do with how the copy is activated. In those days it was a printed activation code or serial number or some such that came with the packaging. If the OP still has access to the code he got with his original licensed copy, he should be able to activate it from any copy of the installation disc for the identical version and it would still be under his own original license. If he has to use your activation code, then technically you may be considered to be transferring your license to him, which as far as I can recall was always forbidden with Cakewalk products. If the OP can prove he has a valid license to the software, then a reasonable licensor might consider that someone providing the installation media to him did not violate the spirit of the license. The creation of archival copies of installation media is often forbidden by boilerplate licensing contracts, and is addressed in copyright law (17 U.S. Code § 117). People often think that the law permits them to distribute copies of the software they own to others (which is different than transferring the license), but in fact the law by itself only permits a backup copy to be made for the use of the original owner, and requires that any copies be destroyed or transferred with the original if the software is legally transferred. So just making the copy with the intent to transfer it to someone else might run afoul of copyright law in addition to the EULA.

So the problem is that "it did not work," "I still can't make the export sound the same," "the music sounds completely different," and "the errors sound different depending...." A bit more detail about the nature of different and errors might help. I would suspect there is something about the routing in the DAW that is affecting the file loaded and played back there that differs from the players and audio editor. If you automatically load a project with a template, then re-loading the same audio file in the DAW may put it through the same effects or routing issue again, even though you seem to be loading it into a new project. Be sure that you are hearing the output (which in best practice should be connecting your mains outs to your audio interface after being sure that every signal path eventually gets to the mains) and not tapping your output through some bypass route to your audio interface.

Theoretically, when you depress an open string to a fret, you are also increasing the tension on the string as you do when turning the tuning pegs, and you should expect some minor pitch variation as a result. The more force it takes to depress the string, the more the resulting tension increase, so a higher action, or heavier string gauge, or even a higher fret height might have an effect on pitch. Some compensation for this can be accomplished by angling (or staggering) the bridge (less often the frets) to make up for the higher tension required to depress the heavier (or higher action) strings. Because so many factors can affect the intonation to a minimal degree, it is really not possible to design or set up a guitar that will play in absolutely perfect pitch for every technique or string choice at every fret. Tuning to a fretted note, should theoretically be less variable than to an open, but not if the luthier has already made a compensation in the fret placement or elsewhere, and in any event unless you are having a noticeable problem it is probably moot. Technique will make more difference than tuning method for most of us. You can always use a sensitive digital tuning meter on your own personal setup, and see if one or another method gives you a better result across the frets where you do the most playing.

Unlike other instruments, which are distinguished from one another by playing on a different MIDI channel, the different drums voices are denoted by their MIDI note number, which is why you can hear them both although they are playing on the same MIDI channel/track. If you look at the note numbers or pitch, each drum is playing on a different one.

The issue here is that for the one in a million artists who can hit the lottery by producing a viral song and entrain a following, the record companies have less to offer and more to gain than in the old system. For the artist it is the opposite. In the days of record company releases, the companies arguably took some risk and provided substantial benefit, both by filtering out artists competition to only the few hundreds of contracted artists they pushed, and by promoting the work of their exploited artists. Without that promotion, in the days of vinyl and CD, an artist was unlikely to ever get to a large audience. With the ease of access to streaming, artists can now present their work without record company backing. The competition is now enormous (potentially millions of other artists), but it is inevitable that some unknown artist will break through. The record companies see this as an opportunity to back/exploit a winner without having to "discover" him or promote him, and with a guaranteed audience out of the box. Furthermore, the emergence of the "360 deal" in which the contracts being offered give the recording company a big piece of not only CD sales, but streaming, live performance, and merchandising, makes signing with them much less advantageous for the artist than in the past. Forgoing an advance is not a big issue now either. In the past the advance was always better for an agent (paid up front) than an artist who would often be in hock to the company for years as a result. Canny artists might have used the advance to promote a tour, or capitalize merch under the old system and show some profit, but under the new system those options are largely foreclosed by the 360 contract. For the struggling artist without millions of followers on social media, the new system may actually be worse. He is now in competition with a horde of other artists of highly variable merit, on systems in which it is very difficult to discover a particular artist, and is subject to exploitation by a new breed of public relations consultants who promise to make him famous for a fee, or burdened with a new task of self promotion which is of dubious utility. For someone in that situation, the "exploitation" of his work by a recording company might still be advantageous.

Hmmm... Does this still happen if you convert the MP3 to wave prior to importing them?

Whooooopieeeeeeee!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

So what you know so far: the keyboard controller is sending the appropriate MIDI event messsage (otherwise another version would not be able to respond appropriately) there is some setting in Cakewalk, or in another application that automatically starts with Cakewalk, that is intercepting the MIDI events the thing to look for here is something that can use your keyboard controller messages to do something other than play a note for example the message is being sent to softsynth that is using the notes that "do not work" for some other kind of control under MIDI learn for example

"Electrical noise" is a diagnosis without a symptom. Basically there are two major categories, usually with different causes. One type is hum and most commonly that comes from the circuit either being polluted by a regular source of AC voltage like a motor or dimmer on the circuit, or the wiring or components receiving a broadcast of electromagnetic waves like a nearby neon sign, crossed wires or components leaking electromagnetic waves. Ground loops or inadequate grounding often accentuates hum. The other is often described as "static" when what is really meant is an irregular crackling sound, which is most often due to bad or dirty connections somewhere which may be widely propagated through the system. Static electricity does not generally produce audio interference, since it is just a voltage difference without a current, but the discharge of static electricity may have a very high voltage that will get through a lot of conditioning and need not be in direct contact with the circuit to have an impact.

So buy Studio One Pro for $267.97 or rent at $16.99 for 24 months and own it in two years for $407.76 ? That is about like buying it with a loan at annual interest of around 25% or paying 50% above the sale price. If you think you will use it for more than 16 months the buy now is clearly the way to go. You can sell the license if you own it for a $25.00 transfer fee, so buy, use and resell might be an option for someone with a short term interest in the software. One obvious problem with renting software temporarily is that you are likely to put some time into creating projects that will need the software to modify them in the future. Of course if Splice will give you ownership of an upgrade to the program that occurs during the rental period that might save you an upgrade fee. Do they do that? When will Studio One 5 be shipping?

Typically abandonware is software that the owner has released without license and support. That is different from just stopping, sale development and support, because it includes the express or effective permission to anyone to use the software without paying for it. Consider the old car in the barn. You may not be driving it or maintaining it, and you may not have any intention of selling it to anyone, but it still belongs to you and you could still charge someone with auto theft it they took it. It is pretty rare for the owner of software rights to give them away to the world, although not so unusual for the owner to no longer care if they are stolen, and not pursue the thief. Much of the "abandonware" available for free on the net is basically in this latter category. Short of issuing a new license that, like some in the Creative Commons system allows anyone to use it freely, or making some explicit statement that the product is being transferred to the public domain, copyright stays with the product until it expires, and ownership of the copyright can almost always be assigned to the original owner his heirs of assigns. So cracked versions of SONAR are almost certainly still cracked, and their use distribution or modification by anyone not licensed is not legal.

I am not at all convinced that the "static" the OP describes has anything to do with static electricity. It seems likely that overheating was causing processing errors and dropouts. Most good motherboards these days have a way to set an alarm when the CPU and sometimes other components are out of range in temperature. That is not a substitute for good cooling hygiene, but it is probably a good idea in any case.

The bit depth/width/sample size can be mixed for different tracks. If you recorded at a lower sample size, then increasing the sample size just adds zeros and gives you no more information. If you go from a higher sample size to a lower one, you will lose information, and additionally may introduce some quantization errors. The sampling rate (sometimes incorrectly called the bit rate*) is not something that can be changed by a simple operation in Cakewalk, and has to be the same for all audio in the project. It is set in preferences but changed automatically when the first audio is imported or produced. Thereafter any new audio that is imported is automatically re-sampled to the project sample rate. The simplest option if you have a lot of audio that needs re-sampling is to close the project, then batch process all of the audio files for the project using an application like R8Brain, then re-open the project. https://www.voxengo.com/product/r8brain/ * The bit rate is the rate at which bits are transferred in a process. The sampling rate is the rate at which samples, consisting of various numbers of bits each (the sample size) are recorded and obviously the same rate should be used to play back the samples to reconstruct the sound.

I got Hybrid 3, Loom Classic, and Vacuum Pro for $1.00 each as separate purchases over the past year or so. I expect they have probably already made back their development costs, so it costs them little to offer them as stocking stuffers to get you on their mailing lists. The Mini Grand sounds like it may finally be moving into that category. If I did not already have a pile of sampled pianos that came with other stuff I bought, I might go for it a $19.99. Just how good is it disregarding the price? is it a good piano or just a good piano compared to other twenty dollar pianos?

Two forums are allotted to Cakewalk with the following intended posting guidelines. While it seems to me that there is an intent to make the Q&A forum a place to ask questions, if not to serve as a user to user help resource, it is not at all clear from reading posts in these forums that everyone has that understanding. Many of the posts in the General forum are questions, and in fact there are many technical questions, problem issues, or apparent bugs with requests for help etc. Unfortunately the posting guidelines for the General forum permitting "all things related" to Cakewalk would seem to subsume everything that is covered by the guidelines for Q&A. If there is a purpose to splitting these forums, I think it is not fully served in practice. Perhaps a more explicit guidance for the General forum would help alleviate this, but given that these are internet forums it is doubtful that everyone reads those in any case. If moderators start moving posts around, that might serve as an education for regular posters, but will undoubtedly result in rancor from those whose posts are moved or those following them. Cakewalk by BandLab: General Discussion focused on all things related to Cakewalk by BandLab software, the DAW formerly known as SONAR Platinum. *********** Cakewalk by BandLab: Q&A This is a Q&A forum, dedicated to asking questions and getting answers, rather than traditional topic-and-post discussions. Q&A Tips This is the place to ask questions about operating Cakewalk, requesting solutions to specific problems, etc. The clearer the question, the better able the community will be to provide a solution! Questions Please present your question as clearly as you can, providing relevant details that can help the community provide the best answer. It is also helpful to the community if you use tags to describe your question. Each question can have up to 5 tags, since a question might be related to several subjects. Answers Please make answers helpful, to the point and civil. If a question requires more detail, please request more detail from the OP. The best answer for a given question is indicated with a green checkbox. Questions can be voted up or down by users, in order to give them more visibility. We want this forum to be as constructive as possible, and your contributions are greatly appreciated!

It should be easy enough to find out if you have an empty wav file. Size alone will not tell you since three minutes of silence requires as much data as three minutes of music, but there are probably a dozen applications on your computer that will play a wav file. Does the file work in those?

Probably most devices will work when connected to a USB hub, but some audio interfaces have had problems. The type of hub you need depends on the type of socket you have on your computer, and the version of USB that the socket supports. If you have USB 2 on your computer, then you will only get USB 2 performance through any hub, so there is no point (an potentially additional problems) using anything else. Most hubs will have type A sockets to which you can connect your devices, and there are adapters available so that you can bridge other types of plugs to the type A socket. https://www.makeuseof.com/tag/understanding-usb-cable-types-one-use/

Most likely you are not loading the driver for the interface in the scenario you describe, in other words it is a Windows/driver problem not an application error. In that case you will not see the device as working in Windows device manager. You can try disconnecting or powering off and then back on the audio interface, which might trigger the driver to load, but I have heard of some situations where the only option is to restart Windows with the interface powered on and plugged in. It might help to know the make and model of your interface, and version of Windows.

I have not used the new version. The older versions were well worth the price just for the sonogram, and it can load plugins for pitch and beat acquisition etc. But it is something of a geek-feat to get everything working. I expect anyone who has not learned to count a beat or do a modicum of transcription by ear is probably looking for something dumber to use. It is not designed to integrate with a DAW or even make your music better, but rather as a tool for musicologists. Still if you have the time to play with this, it is impressive.

In his DAW comparison chart, one thing that jumps out is the zero score Cakewalk gets for stability. If the software you are using/reviewing fails to perform as described/intended, crashes, or otherwise leaves you tearing your hair, it is likely to color your impression of everything else. I have little experience with other DAW's, but it has been my impression over the years that many people have had the impression that Cakewalk/SONAR was exceptionally flaky compared to its competitors. My own impression was that it was too often pulled from the oven half baked in order to try to fix or add an "unfinished feature" that was being published primarily so that the developer could claim it was there. Of course I usually just told myself, it must be user error, resulting in more hair loss, or that buggy is an essential quality of truly state of the art complicated programs, and diligently set about crafting my own kludges or scouring the old forums for the genius of others. Then I would gleefully download a new version after learning that they had fixed a problem that they had never officially acknowledged existed. I am hopeful that the freedom from having to justify the cost of each upgrade, or monthly membership will take some of the pressure off the developers to turn out something for everyone (...a comedy tonight), and result in a shift to making sure that what they have devised is close to bullet-proof. The vast majority of the users of DAW's (as opposed to those who visit DAW self-help forums) are musicians (or want to be) looking for a tool that just works.

I know I am old and stupid, but it seems unnecessarily difficult to find cakewalk and especially the forums on bandlab. If you type bandlab.com in your browser address bar you get to a page https://www.bandlab.com/feed where you can log on to your bandlab account, but I do not see any link from that page to anything having to do with cakewalk. If it is there, it is remarkably easy to miss. If you use the search box on that page you do not get anything that will link you to cakewalk as a product, much less the forum. If you click the Explore Bandlab button you get a page https://www.bandlab.com/explore/home that has a tiny list at the bottom which includes a download apps hyperlink, but the list of apps does not include cakewalk. If you type cakewalk.com you get a page with two learn more buttons both of which take you to a page https://www.bandlab.com/products/cakewalk that provides a description of cakewalk and a download link. It also includes a list of hyperlinks at the very bottom under the heading community, but there is no link to the forums there or anywhere else that I can find on that page. While anyone who has been regularly following these forums will no doubt have learned how to get to the new forum, it does not seem that it will be obvious to any new user. It is certainly not obvious except to the cognoscenti that you should be looking for a cakewalk forum under "discuss." It would seem to be a no-brainer to put PROMINENT links between cakewalk and bandlab web pages so that people who get to the one can easily find the other. originally posted on http://forum.cakewalk.com/SONAR