slartabartfast

So you have to ask yourself, what does restarting a computer do that solves the problem? Buffer flushing comes to mind, which might suggest a problem with the way your hard drive is working. Given the paltry details about what "corruption" means, and how a "horrible sound" sounds, the best I can suggest is to run the manufacturer's drive testing software, or acquire an old but reputedly working pull hard drive from another old computer and run from that as a test. Prior to that, however, check to see that write caching is not active in your OS, and if so try not using it to see if it helps. I would hesitate to buy a new computer (and certainly a used computer) until Microsoft comes up with final requirements for Windows 11. I have a half a dozen computers (some pretty recent builds) that look like they will not run Win11 without a kludge, if at all. https://www.zubairalexander.com/blog/how-to-disable-write-caching-in-windows-xp/

As a general rule antimalware applications use a "signature" to detect known malware. The signature is a small section of code that is known to be present in the malware, but there is no guarantee that a similar sequence of bytes will not also exist in other application code. That coincidental similarity accounts for much of the false positive reports/behavior in antimalware systems. Different antimalware applications often use a different signature to define the malware, so it is pretty common to find a legitimate application triggering as malware on one antivirus but not on another. You can compare the response of a variety of antivirus programs using an online tool like VirusTotal. A rigorous response to a false positive would be for the developer to provide a reliable hash (SHA, MD5 etc.) for their legitimate file so that you can compare the file on your system with what they can confirm is an unaltered safe version. It is pretty unlikely that a bad actor would be able to embed malware in a random file on your system, so if the developer has had multiple reports of similar problems they can pretty safely just tell you that your version is OK without detailed analysis.

Human sacrifice? Satan worship? Cats and dogs mating? Exactly what is the issue? If it is the collection of user data, it is likely that you have consented to worse than that with your operating system before you could even run your computer already. Have you read the privacy policy for this forum site prior to posting? If there is a problem with the code not working, I would be interested in knowing about that before I update Audacity.

MIDIOx will confirm that the note-off is being sent by the keyboard. Look in the Event List View to confirm that Cakewalk is receiving them. If the stuck notes are part of a rapid sequence it is possible you are overrunning the MIDI buffer. Edit >Preferences > MIDI - Playback and Recording

I would be pretty certain that all original MIDI data is automatically copyrighted as soon as it is fixed in a tangible medium such as being accessible in the volatile memory of a computer. We tend to think that a creation has to be "written down" like in standard notation, but obviously a musical creation that is recorded to tape or disk is covered, as is music that is stored and transmitted by computers. MIDI files are either notations of compositions, or recordings of a musical performance on a MIDI input device. The origin of the term "mechanical license" dates back to the days when music recording was done on punched paper rolls that controlled machines (player pianos). Early claims that making such punch paper recordings infringed the composer's copyright failed because the courts could find no statute that covered the nascent technology. WHITE-SMITH MUSIC PUBLISHING COMPANY v. APOLLO COMPANY and others. But in 1909 the US Copyright Law was changed to provide for the application of the composer's copyright to recordings of his work. At the same time, the concern that one player piano company could establish a monopoly by licensing new recordings that would only play on their machine, prompted the addition of the compulsory license, which we commonly still call a mechanical license. Using that license a performer can record a cover of an original recording that has already been released, but he is limited in how much alteration he can make in his arrangement. He cannot change the "fundamental character of the work" which is generally taken to mean the melody and lyrics are preserved. MIDI files have the same legal status as CD's or other forms of musical recordings. Whether a compulsory license is available for the particular MIDI file would depend on whether the distribution was considered a publication. In any event, unless you can obtain a license for a MIDI file, either by contract or by compulsory licensing you are on shaky ground doing anything with it except for your own entertainment. If you are using the MIDI file as only a portion of a new and larger work, then the compulsory license is not an option, since you are then creating a derivative work, which can never be covered by a compulsory license, and you would need to get a contractual license from the composer or his assigns. My recollection of the licenses under which Cakewalk distributed its DAW's was that it included a clause stating that some of the material in the samples was covered under copyright by its originators and was not licensed to the purchaser to use except as demo material to use and presumably demonstrate Cakewalk's software.

It sound as if you are describing an inconsistency of the velocity sent by the keyboard, but you are not specifically addressing velocity as the issue, and only describe the symptom in terms of loudness. There is no reason to think that the keyboard will send the same velocity with each key strike--they are designed to not to do that so that different key strike forces produce different velocity levels making it possible for the player to control that parameter with technique. What you should expect is that the keyboard will always send the same velocity from a given key strike force for the same key. Loudness is a psychoacoustic term that describes the subjective response of the listener. I involves a variety of factors including pitch, timbre, recently heard sounds, simultaneously heard sounds (masking) etc. If you are judging the sound by ear, you are measuring loudness. Volume is the mechanical power of the sound or sound pressure level. If you are using a meter calibrated in dBspl you are measuring loudness. Velocity is a MIDI term of art describing a number which the receiving device or software will interpret in whatever way it is programmed to respond to that number. Velocity need not control volume at all, depending on the programming of the device. My MIDI keyboard, like many others, has the capacity to be programmed to send different velocity messages as a response to the same strike force on the keys. If your keyboard does, then look for the method to re-program that if the problem is that the velocity being sent is consistently wrong. To check what your keyboard is actually sending you can download MIDIOx which will tell you without involving the DAW settings. If the velocities are not what you expect coming from the keyboard, then your options are to reprogram the keyboard if possible, change your keyboard technique so that the key strike is more consistent, or edit the velocity after it has been recorded in the DAW, or filter the input velocity using the DAW or other software (which is in practice the same as editing the velocity). Note that many instruments are designed to respond to velocity differently at different pitches. A real piano for example produces much more sound power for the same amount of key strike force at lower pitches than at the high end of the keyboard. A virtual piano that did not do the same would be difficult to play to sound like a realistic piano.

I am pretty sure that the SONAR license, as well as the CbB license do not tie the software to the machine, In a rather unusual policy the use of the license is limited to a single user at one time: "...grants to you, the Licensee, a non-exclusive license to have one person use the Cakewalk by BandLab software product (the "Product") on one personal computer at a time. If you want to use the Product on more than one personal computer at a time, or if you want to network the Product, you must obtain separate licenses from BandLab." So this is apparently not even a license to specifically allow you personally to use the software, regardless of where it has been installed. Your roommate or a complete stranger would not be in violation of your license so long as only a single user is actually running the software at a given time. It does not even specifically require that the licensee be the one who installs the software on a computer, but it does require that the licensee police the single user policy. For free and freely available software this is not a big deal, but it was unusual for paid software, like SONAR. The SONAR licenses specifically prevented the licensee from transferring (selling, giving as a gift or as inheritance) the software license to anyone else, but CbB seems to be mute on this point.

I imagine scrubbing on a tape recorder with the transport running would also cause problems.

I do too, but the limit to that strategy is that the search is only as good as the index. On many occasions I can find what I am looking for with a word search of the pdf, when I cannot using the online help index. Of course the pdf is not always up to date. I remain confused about what a search in the search box at http://www.cakewalk.com/Documentation?product=Cakewalk&language=3 is searching or how.

Resource Interchange File Format (RIFF) is a general file format that is capable of containing a variety of types of data, including MIDI data, although it is more commonly used for other multimedia data. MIDI 1 is a MIDI file specification in which the tracks' information are recorded separately--so, as you note the file contains the information needed to recover the individual tracks. MIDI 0 is a MIDI file that contains all of the tracks' information merged, but including channel information that allows some reconstruction of the original by channel to track mapping. The limit to reconstruction from MIDI 0 occurs when multiple tracks are assigned to the same channel, as the information to separate such tracks is not encoded. Standard MIDI software and devices usually expect a MIDI specified file structure and not the same information in a RIFF wrapper, so unless you are planning to do something unusual, there is no benefit to RIFF. They should both have the same MIDI information, but extracting it from the RIFF format may be problematic.

Actually, the term scrubbing was inherited from the analog world. The act of dragging the tape across the play head, usually requiring a back and forth action to locate the exact spot, was seen as analogous (no pun intended) to scrubbing to clean something.

For those of us for whom sitting through a promotional video to get information is a waste of our rapidly declining life force: https://www.meldaproduction.com/MFreeFXBundle

Actually, such a policy (which apparently does not exist) would not be contrary to "all intellectual property law," although it might come afoul of legal opinion in some jurisdictions. The ability of a software producer to put limitations on its use by licensing provisions has been pretty well established in the US. It is likely that you have software that is licensed only for non-commercial use, for example. Using such software in a business for money making would violate the terms of the contract you have accepted when you install the software. Unlicensed use of software has both civil and criminal penalties. In the US, such off-license use can be charged as a violation of the copyright of the developer/seller, in addition to just being an issue of contract law. The theory that not just the illegal use of the software is actionable, and the loss of income to the licensor (the cost you avoided by violating the license) is recoverable to the licensor, but that the product of that unlicensed use (your mega hit) is forfeit to him is not automatic, but it follows from the general principal that your profits generated by the illegal use are not legitimately your property. Such profits would likely be claimed as damages in a legal action against you if they were significant. That is not so different from the more commonly seen claims against musicians for unlicensed incorporation of copyrighted samples in their own work.

Looks like only about a hundredth of a cord to me.

Predicting the future price is problematic. Waiting until a few of weeks before the release of version 6 may get you a bargain on 5 especially during the silly season that used to be called Black Friday. At any rate, so far the policy has been to give upgrade pricing for any prior version of software, which you will probably feel is unfair if you are just one version behind, but if it holds, it is a good argument for skipping a version or two unless you need some new feature to function. I apparently got StudioOne 4 as an upgrade for $62.58 in November 2018, and I have not used it enough in the interim to replace it with a newer version at twice the price.

The mystery cable might be suboptimal, it might even be useless, and it likely does not have an up to date device specific MIDI driver available. But without knowing a bit more, it is probably just an expression of gear prejudice to imply that no device using class compliant drivers or drivers loaded from device firmware cannot work. The problem with buying your way out of a problem that is so poorly described (and hence poorly understood) is that the same problem may persist with more expensive hardware as well. Understanding why the device is not doing what you expect, can go a long way to avoiding wasted money if not wasted effort.

The code jenz8q4h gives me 0.00 discount as of 19:30 Wednesday May 5 UTC.

Just to be clear, when you say that you are using a device as a "MIDI controller" for your DAW, do you mean that you are using it to send note messages or do you mean that you are using it to control parameters of the DAW itself and/or of plugins/softsynths? When you say "pair with" a plugin, do you mean it sends note messages that the plugin responds to or do you mean it "maps to" control parameters of the plugin?

The key is that, although the waveform drawing was off the scale, the meter was reading well within the safe zone and the clipping indicator was off. Best not to depend on the waveform drawing for measuring the amplitude, it is primarily designed so you can find peaks of interest.

To elaborate on what John said, Cakewalk only deals with digital audio (numbers). Until the captured audio is converted into numbers by the audio to digital converter in your interface Cakewalk is powerless to make any adjustment. If the signal being fed to those converters is causing clipping, then the clipping will carry over into Cakewalk and there is no way to reverse it, since everything above 0dB is undefined i. e. there is no information to recover. So you need to look at the way the signal from your microphone is being moderated (amplified or attenuated) prior to reaching the AD converters. If there is a gain adjustment in your microphone, pre-amp, mixer etc. that is where you will need to make adjustments.

You have entered the dismal world of planned obsolescence. This turns the old engineering adage "if it ain't broke don't fix it" on its head in favor of the marketing maxim "newer is always better . " Basically the whole computer hardware/software ecosystem is participating in a more or less coordinated effort to make your old stuff useless so that you will have to get newer more expensive stuff to do basically the same stuff. It begins with the operating systems and propagates through the applications to the hardware like a disease. In this environment, the software hackers play an important symbiotic role by threatening to steal your bank account if you fail to upgrade everything even more often. The rented not owned and its variation the annual payment for access to upgrades is the latest wrinkle on the protection racket under the guise of obsolescence insurance. You have to love capitalism. Really...you have no choice.

I had another thought about your issue. You might get that behavior if your sustain pedal has an incorrect polarity for your keyboard. That would be expected to produce a consistent error, rather than the intermittent problem you describe, but it might be worth checking to see if there is a polarity switch on your pedal that is in the wrong position or is loose.

I think you are saying you get "stuck notes" i. e. a note stays on after the key is released. Typically that occurs because the DAW is not receiving a note-off MIDI message. Usually this is a keyboard or MIDI interface issue, but you also threw in the sustain pedal and from your phrasing it would seem that the issue only happens if the sustain pedal is operated. Additionally I am reading that your issue happens with either keyboard regardless of which keyboard is attached to the sustain pedal. That would tend to indicate the sustain pedal may be failing to trigger a note-off when released. If that is the issue, then more likely than not the pedal has a physical issue i.e. is broken. You can check to see that it is not some software issue with Cakewalk or the synths you are using by downloading MidiOx (free), to see what messages are being sent to the computer. You can also check the event list view to confirm what Cakewalk is seeing.

There is no way you are going to get lossless compression that will rival an MP3 in size, for the very good reason that an MP3 throws away a lot of data. It is like the difference between packing a dozen pillows into a suitcase and packing three pillows instead. An alternative is to compromise on the largely inaudible differences between 24/48 and 16/44.1. One second of audio at 24/48k requires 1,152,000 bits compared to 705,600 bits at 16/44.1k a size reduction of about 40% for the CD quality file. That compares roughly to FLAC average size reduction. Further compression of the 16/44.1k file using FLAC would bring the size down again, but nowhere near the size reduction of 11:1 ratio that is available in the 128kb/s MP3 bitrate commonly used in streaming. As noted Ogg Vorbis is a lossy compression, but the comparison with MP3 for the same bit rate is a matter of opinion. In any event if you are choosing a lossy compression scheme you have made the choice to have something that sounds OK rather than something that is accurate in reproducing the original. If you are trying to provide live streaming of your data, then obviously lower quality for higher speed of transmission is the tradeoff. If you are trying to store your data online for later access, then there is no reason except time and convenience to compress at all, and you have a stronger argument for using a lossless compression.

Excellent advice, John. Of course if you are going to try to open and work on old projects that used 32 bit plugs, it might not be the last word.