slartabartfast

The problem sounds like a classic sample mismatch problem except that you say the audio changes pitch and speed while playing. If this is a gradually progressive change, then I can not imagine any etiology of the gradual change in sample rate. But if there is an abrupt change to a slower speed and pitch, that would suggest that you recorded different parts of the song at different times and not all at the same sample rate. Was all of the recording done at one time using the same interface?

So what is the procedure to retrieve an image file if your subscription has expired? In the past Acronis has only supported restoration of images from earlier versions. What happens to info saved with a sub version if your sub lapses? Do you need to re-up to restore it? If any type of software needs to be under the total and perpetual control of a user, it is surely software that uses proprietary formats for backup of data. Otherwise your backup may be inaccessible.

The MIDI note numbers in the MIDI data stream /signal? are not tunable per se. There are other MIDI parameters that can be used to alter the frequency that a synth that is designed to respond actually produces instead of the fixed tempered scale that the note numbers usually represent, but as scook notes this is dependent on the synth design. The MIDI spec includes a MIDI Tuning Standard (MTS) that allows you to re-tune the synth scale via a re-assignment of the entire "keyboard" using a tuning table or change individual notes on the fly if this feature is supported. Some synths include microtuning and other non-standard scales within built in tuning tables, that can be activated by sysex messages in a similar manner to bank changes. It is also possible to re-tune some synths using the pitch bend message usually using automated applications to calculate the appropriate value for the pitch bend. https://www.midi.org/specifications/midi1-specifications/m1-v4-2-1-midi-1-0-detailed-specification-96-1-4 register at MIDI.org for free and download the MIDI 1.0 specification search MIDI frequency standard https://www.huygens-fokker.org/scala/ https://sites.uci.edu/camp2014/2014/04/30/managing-midi-pitchbend-messages/

The problem is that you generally have no way of knowing what "enhancements" are going to be applied, or what listening environment you are sending your music into, or ultimately how the listener will perceive it based on the limitation of his own hearing. Not everyone listening will be doing so using the same software or hardware. If you know that you will only be presenting music on a single streaming service, it is worth investigating what "enhancements" will be applied by that service, but otherwise you are probably best advised to mix and master the recordings using as few gimmicks as possible, and making sure that any color that is being applied as you listen is occurring prior to recording in your signal chain. Mixing using an "enhanced" listening environment will only produce the results you expect in that same environment on playback. The listener can tweak his listening experience using the enhancements he has available, which are mostly filters of one sort or another. In practice even "boosts" at certain frequencies are often passing a band in the boosted region followed by increasing the volume of the surviving bands overall. If the frequencies are not in the native recording they can not be effectively manufactured by the listener's equipment.

Oh, great. Now we will have to re-master Paul Robeson's "More Than Middle Aged Heavily Complexioned Joe."

Headphone output impedance for your interface is 10 ohm with a recommended load/headphone input impedance of 80 ohm derived from a recommended ratio of 8:1. Likely, as you noted, your problem is that the headphones are under-driven by the source. Interposing a headphone amplifier to boost the signal to the phones would likely be the best option if you want to maintain fidelity. Or getting phones with less impedance. You will probably have your interface cranked up to maximum volume already. Increasing the digital signal coming into the interface will give you limited benefit. https://solidstatelogic.zendesk.com/hc/en-us/articles/360009315238-Headphones-impedance https://www.headphonesty.com/2019/04/headphone-impedance-demystified/

Is this my lifetime or CloudBounce's lifetime. I am pretty old, but I have already outlived many thousands of internet enterprises.

There is also some confusion added to the discussion by the "albums-in-the-hope-chest" phenomenon. Typically a young artist will come to be recognized after he has been working for a decade or more without public success. Then he hits the audience with the best stuff he has created over that long time period, and everyone thinks he is brand new at this, and marvels at his creative productivity. A second or third album comes out with some of his lesser but still impressive songs, that have been sitting on ice for years sometimes, and the image of a huge amount of creative energy personified in an up and coming talent is solidified. As often as not though after he has used up his best stuff from storage, his creativity seems to lag, because he is not putting out such great work every six months. Once he starts to go a couple of years between releases, he is already judged to be a has-been who can no longer create new stuff, and that is just if he has not succumbed to drug abuse or the loss of motivation and deflections from his meteoric rise that comes with new distractions that often accompanies "success."

Depending on how much you want to stretch the audio, there may be better stretch algorithms that will work better, but there are limits to the amount you can stretch. Remember that if you are stretching audio you are trying to fill more time with the same amount of data--some data will be lost of necessity. An algorithm that will fill in the missing data points must use some sort of interpolation; it must "guess" at what the complex wave was going to be doing in the now empty samples. The more empty samples it has to compensate for, the less it is likely to be correct.

General MIDI controller pads are not just for, or even primarily for, triggering drums. They are probably most useful for the one man band who needs to trigger chunks of pre-recorded musical sounds in live performance. If you are really looking at putting live controlled drum sounds into the DAW then a dedicated drum controller may be a better choice. If you are a drummer, then an electronic drum kit would be even better and of course much more expensive.

Have you tried this? https://www.roland.com/us/support/by_product/fa-07/updates_drivers/e830c4fa-dd77-40da-ba6f-7c886c664cd4/

Win 10 end of support is coming October 14, 2025. If you are buying a new computer, take the time to verify that it will run Windows 11. You cannot assume that any machine you find for sale as "new" will have the capability of running Win 11. There are machines that have not been sold yet that will not, and some of these will look like super bargains because the seller is trying to dump them before they spoil. Of course if you are planning to stay offline and run a defunct OS for another decade, one of these "old" new machines might be what you want. In that case waiting is likely to only bring the price down as buyers become more aware of the problem they will face in four years.

Just to be clear, you are talking about MIDI velocity and not how "loud" (dB on the meter) the audio response is? If the lowest velocity visible in the Event List view is fixed, then 57 Gregy has it right. My keyboard lets me filter/adjust the values that it sends in response to the physical keypress impulse, so check to see that it is not a setting you can change. Inexpensive keyboards may just lack the sensitivity discrimination to trigger and send low velocity messages, or may not, by design limitation, send the full range available in the MIDI spec. If you are talking about the response of the audio dB level to a keypress on the controller, then that opens a whole other can of worms.

MIDI files can include metadata text events which can be used to include text that will not be executed by all MIDI capable sequencers. That capability could be used to embed information like track names, events for specific sequencers or applications, copyright notices etc. and presumably could include the kind of information usually found in MP3 tags, but their location and content is not specified, so extracting that data from the file would require specifically looking for it.

Have you checked under the cushions on the couch?

Somebody who does not know anything about the offerings of products on the market may well take the fact that software has won an award or topped a poll as indicating that it is the one to buy. It is not a trivial issue, or I doubt that KVR would be bothering.

I would argue that it is neither.

And if you export to wave? If the crackling is not encoded into the audio data, the cause and solution are moot. It would point to a problem in the signal chain through which you are listening or to the playback system in Cakewalk.

From the instructions for nominations: "Please note that Freeware and Donationware products should not be voted for in any categories except Favorite Free Virtual Instrument and Favorite Free Virtual Effect Processor." Apparently they do not want any product that is not buying advertising on their associated sites to score at all. Their product database does list Cakewalk by Bandlab, so the system may accept that nomination under the DAW category, but it certainly would not fit into the categories that they list as freeware acceptable. By putting the above instruction at the top of the ballot, they are certainly skewing the subsequent vote against a lot of good products.

The usual pattern for private equity is to cannibalize the acquisition for its assets and move on. My impression is that there is quite a bit of salable real estate in the company, so given the direction of retail sales in the past couple of decades it might make sense to divest from that at a quick profit, and with it the cost center of local employees and move all the merch online. None of that would be contradictory to opening a showroom at company headquarters, at least in the short run. In the long run, that function can be performed by any surviving brick and mortar instrument stores. Try it out at one of those stores with higher prices due to higher costs and then order online cheaper. Of course this assumes the private equity boys can sell it all to Amazon before even that model falls apart.

Thanks for putting the object under discussion where we can see it. I suspect that you are being too literal with the term "hate speech" if you defend this as having no words. US law, as opposed to other jurisdictions that do not make a fetish of "free speech," reputedly does not define the term at all. But where it is defined it is typically shorthand for "communication" and could certainly subsume visual elements designed to convey hatred or threat against some group or individual. YouTube can define it however it wants. It is interesting that they define it specifically as offensive speech against particular classes of people, not as just general ugliness. So if you were to post content calling for the shunning or extermination of subway conductors or people with halitosis you would technically not run afoul of their hate speech policy. You are almost certainly on solid ground with your pictures of natural disasters. . The mere inclusion of an image of *****, can hardly be considered to be promoting ***** activity, and the inclusion of that image with those of wildfires and hurricanes suggest that Nazism is being criticized if anything, as does the image of a war crimes trial. The war scenes (bombers, destruction at Hiroshima etc,) are just war, and not itself hate speech against veterans (unless you think they are intended to cause the viewer to want to attack Japanese or European whites, or as an attack on military veterans), and the ethnicity and significance of the unburied bodies is not clearly apparent to me. Does the depiction of poor whites in the dust bowl diaspora somehow call for the destruction of their race? The Bosch painting, Waco, ugly pope and Jim Jones images suggest that someone took those as antireligious or insufficiently respectful of their religion. Maybe a surviving Branch Davidian objected to the depiction of David Koresh in the same film as *****. EDIT: I am unable to use even the name of the leader of the Third Reich or the name of the party he headed in this forum, so it is not just a YouTube issue

Wow. I have been looking for the Large Tibetan Horn sound forever. Closest I could come was samples of a donkey farting in the Taj Mahal.

Should have named it Lady A?

Actually, the non-transferrable licenses are just that--non-transferrable. You cannot sell, give away, bequeath. share, use as a settlement for a lawsuit or otherwise effectively allow another user to ever use them. When you die, the license dies. One way to look at this is that it has never been your software, or your license, you are just the licensee for a product that Cakewalk retained the rights to. Any use of Cakewalk's software outside the terms of the license are just plain not licensed uses. This is just one of the more egregious aspects of the licensed-not-sold model for software, but so far it has withstood legal challenges in the US at least.

Maybe... Technically, I think it is illegal (violates the license terms) to transfer your license to the software. Presumably, the OP has a valid license for his own copy, but just lost the installation discs. I expect that he could install the software from any distribution medium, but to activate and use it legally he would need his own activation key. Not all jurisdictions even support that license provision, so if two people are in such a jurisdiction, they could "legally" transfer the software.