Starship Krupa

I'd say it's time to get busy looking for a suitable freeware replacement.

Try some Shift+D as well. I agree that it would be nice to have buttons for those functions on the UI.

Very doubtful. Who knows, it may start working in a future Sonar release as the result of a different issue being addressed. Your best bet is to find a replacement for one of the three pieces of software that are not cooperating. If it were me, that would be Poise. Speedrum Lite works with Cakewalk by BandLab.

Rhetorical question, probably, but I think I can at least speculate. Pricing: users don't know what is meant by "affordable." Affordable relative to what? Will there be a subscription option? If so, how will the cost of updates be handled for people who choose a perpetual license over the subscription? All of these questions are still up in the air. The "much better" is well earned, but pricing and licensing is still a mystery, and we know that it's still being worked out and you can't make any guarantees. Everyone has to trust that you're industry veterans and smart cookies who know where Sonar fits in the marketplace and what you should charge for it. Another element might be residual uncertainty about investing time and effort into a freeware DAW. Cakewalk by BandLab has been too good to be true for 6 years now. Many adopters wondering what the catch was, maybe thinking aha, here's where they get us. Lastly, the people who use CbB LOVE CbB. Maybe they're not as sure they'll love Sonar as much.?

I am all for squeezing the last bit of usefulness out of older hardware and software. It's standard practice for me. My current main system is built from donor, eBay, and Criag's List components. The only things purchased new are the RAM sticks and the Firewire card. But at some point, it becomes more trouble than it's worth. Stuff that used to work fine stops working fine. You can get refurbished Dells on Amazon for under $200, fully capable of running DAW software, Windows 11, etc. Mini PC's as well. You can do a TON of stuff with free software, but there IS a certain ante in hardware. It's pretty low these days, and then you can run the wheels off of whatever you get for another 10 years.

That would be nice. "Kids these days" have been said to be ignorant of the charms of forums, in favor of more ephemeral means of getting and offering help. This of course leads to the same questions and issues being addressed ad nauseum.

I've gotten good sounds from SONIVOX Harpsichord. Currently $5 at Plugin Boutique: https://www.pluginboutique.com/products/2013

Get Cakewalk by BandLab while it's still available and free. Install it next to SONAR X1 and you will get the best of both. X1 hasn't been supported in well over a decade. Cakewalk by BandLab is still in active support. Why am I always the one who has to say this? What is the value in trying to help people get these antique versions of SONAR to work? There is no reason to be running SONAR X1 at this time.

I suggest you try the things discussed in this topic.

Me, I don't know exactly what was included in the sale. The tone of your post seemed as if you have some anger toward BandLab. Did I get that wrong? Promises and indications made by whom? Official representatives of BandLab? What were the promises? In my memory, BandLab employees haven't made many promises in this forum, especially not specific ones. The most they ever say is that they are working on something or other, but even that is not definite. In any case, I like to go on whatever has happened, vs. what might happen. So far what has happened is that Cakewalk by BandLab is still free to download, register, and use, the company has announced that it intends to replace it with a new, improved program called Sonar that will cost money to license. Cakewalk by BandLab will continue to function as it does now, but at some point in the future its registration servers may be taken offline. They haven't said how much money they are going to charge, nor have they said when any of these changes are going to happen. Since I've been paying attention (6 years) BandLab haven't made any dikc moves (IMO), although I will say that I was really happy that the hard-timeout pop-up ad for Sonar that affected offline launches of CbB was dealt with in speedy fashion. ?

They didn't buy Cakewalk, Inc. They bought a bunch of stuff that Cakewalk, Inc. (by then an extinct company) once owned. That stuff included the code and trademarks for a number of products, including SONAR. If they had been forced to also take on the old company's legal obligations, the deal would probably not have happened, and there would have been no Cakewalk DAW for the past 6 years. Any agreements and obligations like warranties, debts, upgrade plans, whatever, became null when Cakewalk, Inc. was dissolved. That's how liquidation goes. The SONAR Platinum lifetime upgrades license was an agreement between two parties, and one of those parties ceased to exist over 6 years ago. BandLab may decide to do any number of things as a courtesy to people who had agreements with the old company. So far those things have included 6 years of keeping the old company's licensing and download servers running, and issuing their rebranded version of SONAR with a free license. They have no obligation to continue to provide free licenses for products they make with the SONAR (or any other) code. These are not legal technicalities or "some hedge lawyer thing." This is the way the world works, and decisions about whether to buy such things as lifetime upgrade licenses must take that into account. Companies fail, especially in the music industry. FL Studio users are gambling that Image Line will be around for as long as they need them to be. I'm pretty confident that whatever the fee is for the upcoming Sonar, it will come as a pleasant surprise to those who remember SONAR Platinum costing hundreds of dollars. BandLab's costs to produce and distribute Cakewalk/Sonar/Next are way less than when there was a Cakewalk, Inc. with multiple tiers of management, marketing department, legal department, centralized headquarters with maintenance, lease, reception, utilities, and so on. The Bakers were doing it lockdown style before it was hip.

Try this: https://dnyuz.com/2024/01/13/their-songs-were-stolen-by-phantom-artists-they-couldnt-get-them-back/

Still, for whatever reason(s), they do sell a lot of them. It looks like PreSonus have put together a good package for people who want a USB mic. ASIO driver, OBS driver (nice), etc. Based on this review, if I couldn't talk someone into a dedicated interface with separate mic, this would be the package to recommend.

The part of their saga that I liked was that both of the guys in the band are retired lawyers with specialties in copyright, and being retired, these guys will never let up. The people who ripped them off kicked the hornet's nest.

1. Following the manufacturer's uninstall directions is a good thing. If you're getting a message saying that the files are open in Universal Control, the thing to do is quit Universal Control. You can do that from Universal Control's File menu. Down at the bottom of the menu, Quit. 2. I don't know why ASIO4ALL suddenly entered the discussion. ASIO4ALL is a special case driver for use where your interface itself doesn't have its own true ASIO driver and your audio software doesn't support WASAPI Exclusive. The Audiobox, the iTwo and your new Behringer UMC204 all have their own true ASIO drivers, so there's no reason for you to mess with ASIO4ALL. 3. Did you try my suggestions to try a different cable and delete unused Device Manager entries?

I'm sure that you're trying hard to figure out why on earth you'd face this kind of crap when posting your own original music to YouTube, but how exactly would such a scheme work? You said that your video was flagged while you were trying to upload it. Does that mean that you uploaded it and were immediately notified that it matched music for which FUGA controls the copyright? Or were you notified somewhat later? The first would suggest that the infringement-catcher detected tags while the second would suggest "softer" algorithmic detection. According to the New York Times article, the Bad Dog song files were scraped from Soundcloud with metadata intact and that metadata got added to whatever giant database these companies (Disc Makers, YouTube) use to spot infringements. Presumably when the perps sent the songs to the streaming services, the services put the tags in the database. If your songs got flagged that quickly, it could mean that their metadata had already been put in that database. The thieves' motivation for doing this kind of thing is to get raw material for cheating Spotify and the other streamers. They send a song with a fake artist and title to Spotify, then get bots to request the song over and over thousands of times, then collect the playback royalties from Spotify. The songs that they send have to be undetectable as fake copies, so they can't use stuff from popular artists, or test tones, or noise, as that would get flagged by content matching detection. The music has to sound like music and be unique enough to get past the detection systems. It can't pattern match with music that Spotify is already playing, and it has to have enough material in it to look and sound roughly like music. It seems to me like like adding some kind of digital fingerprint would make it more difficult to get away with the scam, if anything. It was the extra tagging data in the music files that made the band in the NYT article aware that they had been scammed. In the event of legal action, the presence of such a thing would be something that investigators could potentially find and use as evidence of wrongdoing. All it would take is for a clever person to make 10 mixdowns and run the resulting files through a pattern recognizer. Any common pattern that wasn't part of a known audio file type container or meta tag would be suspect. As always comes to my mind when evil!BandLab theories pop up, doing something like that seems like spending a LOT of trouble and money to fool Spotify for only as long as it takes for users of your DAW's and the authorities to figure it out. After which they'd be facing multiple class action suits and nobody would touch anything with the company's name on it until the end of time (instantly tanking their stock price and rendering most of their IP assets worthless). Remember, the actual target of the scam isn't people who do music, it's Spotify and every other streaming service, and I suspect that if they caught a company the size of BandLab aiding and abetting this kind of fraud, they'd devote some resources to going after them.

According to its Wikipedia timeline, it was initially freeware, then became shareware, then fully payware. It's been payware for a very long time.

Yes, same as REAPER was once freeware and is now payware. Are you suggesting that if someone likes programs that go from freeware to payware they might also like REAPER? Seems like an odd criterion....

And you posted this in a topic about the latest release of Cakewalk by BandLab because....?

Okay, I found it. Holy crap! It IS us, literally. I must read the whole thread....

I don't remember that, I guess if I search the forum it will come up?

I remember well when this was first broadcast. I was a high school freshman, living in Mississippi. An academic society that I was a member of took a trip to the state capitol of Jackson to attend the state convention. We stayed overnight at a Holiday Inn. Of course, for any high schooler in those days, you watched Midnight Special religiously, especially if you lived in a cultural backwater like Pascagoula, MS, so a bunch of us gathered in one of the rooms to watch, most not knowing ahead of time what was going to be featured. Some of us liked Bowie's music well enough, but hadn't been exposed to his stage show, just then at the height of his glammiest and most androgynous. We were a bunch of kids in Southern Mississippi, although I wasn't born and raised there like most of my classmates. There was no place to buy Rolling Stone from a rack, you had to subscribe to it or you didn't get to read it. The closest place to get it was in the newsstand at the Mobile, AL airport, so that was a treat when my stepfather would take a business trip: it meant the current issue of Rolling Stone. The show came on, and of course, in order to reinforce our own masculinity we all had to scoff at how effeminate the proceedings were, while also being absolutely freaking Krazy Glued to the screen. And of course the next school day it was all anyone could talk about (with obligatory scoffing about the presentation). (for more cultural perspective, if you've seen Dazed and Confused, my high school was 2 states over from the one depicted and had a similar hazing tradition, albeit more lighthearted, without the dumping of gross stuff, etc. I would have been the same age as the freshman baseball pitcher kid played by Wiley Wiggins)

Absolutely fascinating article from The New York Times: Their Songs Were Stolen by Phantom Artists Not only is it interesting in and of itself, but I feel like the band in the article is kinda close to many of us. A couple of retired dudes who play music as a hobby, doing house parties and putting their stuff up on Soundcloud. Read the description of them and you'll probably agree that if it could happen to them, it could happen to anyone here. It's important reading for independent artists because it details the steps they went through to remedy the situation. There are some interesting twists to the story that I won't spoil, but I'm very interested to hear what y'all think of this. To check their music out in a legit way: https://soundcloud.com/davidpost-1/

A good maintenance thing to do is open Device Manager and select Show Hidden Devices from the View menu. Look under Sound, video and Game Controllers. If there are duplicate greyed out entries for your audio interfaces, uninstall them. While you're at it, disable the display audio driver (on my system it's "Intel Display Audio"). Windows can get weird if there are too many unused copies of USB devices. Also, bus-powered interfaces like this pump the 5V supplied by the port up to 48V to power condenser mics. Sometimes, especially if there are multiple bus-powered devices plugged into the same root hub, the hub just can't supply enough power. In that case, a powered external hub is called for. Last but not least, USB cables can go bad just like any other cable and cause problems with data and/or power transmission, so try another cable. My own PreSonus Studio 2|4 which I picked up used, came with a cable that messed up performance, and when I finally got a good cable, it started working fine. PreSonus is a well-established company with a good reputation. I myself use one of their USB interfaces and have had no problems with it whatsoever. The Audiobox 96 in particular is a tried and true workhorse.

If you have your eye on MeldaProduction bundles that include MTurboComple (including my favorite bundle, MEssentialsFX), get this. It will get you a substantial price reduction when the next 50% off bundles sale comes around. As a plug-in, MTurboComple is an odd bird. It's supposed to emulate the operation and sound of 19 classic vintage compressors, but the models don't have the same controls as the originals, and were/are confusing for me to set up. For instance, in addition to the usual ratio and threshold controls, there's often a "compression" knob that's supposed to control the "amount" of compression. I wasn't able to get a handle on that until I ran it through Plug-in Doctor. It seems to run counter to the usual "surgeon's tools" MeldaProduction design philosophy. It's a set of compressors where you mess with the knobs and listen to the result. A "use your ears" affair.