Starship Krupa

If your 8.1 key is for Pro, then yes. As for "entitled," I have no idea. All I know is that you are allowed. From what I know of contract and copyright law, if the owner of the intellectual property is aware of how you're using it (which Microsoft are due to the fact that Windows 10/11 has so much "phone home" built into it) and they allow you to keep using it, that is a tacit agreement. Of course, all software licensing includes the notice that the license may be revoked at any time at the discretion of the licensor, but Microsoft haven't been doing that. I researched this extensively before pulling the trigger. As far as the possibility of being out 6 bucks, I paid with PayPal and was prepared to revoke the payment if it didn't work as advertised. Also, my rep around here of being someone who brings the cheap/free legit hookups is important to me. I check my deals out as thoroughly as I can before posting them, usually after trying them myself.

During my recent "the sword reforged" build, I used a case someone had given me that happened to have a Windows Vista Pro sticker with license key on it. When I installed Windows 10, I entered the Vista Pro key and it accepted it and installed Windows 10 Pro. The takeaway from that is that I can use keys from any version of Windows going back to at least 7 and get an activated installation. As has been pointed out, if Microsoft wanted to put a stop to it, they could easily do so. As far as legal issues and whatnot, if you are running a professional studio, use your judgement. Maybe you want to color inside the lines a bit more, and write off the full license cost as a business expense. Chances are, though, a pro studio won't be using homemade system builds. Microsoft audit large businesses to make sure that they are all licensed up, because large businesses are where they make their money on Windows licensing. To pursue any kind of legal action because one home computer user found a way around paying $100 for their Windows 10 license makes no business sense whatsoever. For someone in their legal department to spend even 15 minutes on it would more than nullify any financial benefit. Microsoft want people on Windows 10/11. For a variety of reasons. It has the Microsoft Store, which they are trying to promote, it has Windows Defender, which prevents Windows systems from becoming zombie bots and ransomware mechanisms. It actually runs better than any previous version of Windows on compliant hardware. Remember, Windows 10 was the first version of Windows that didn't require a paid upgrade license. Bottom line: I paid my 6 bucks and the license works. Microsoft seem happy with it and so am I.

Setting up a new Cakewalk installation on a friend's laptop, I noticed that the Melodyne installer automatically creates a Defender exclusion. I think that it would be a good thing for Cakewalk to do that as well, for whatever folder the user chooses for Cakewalk Projects and Cakewalk Content. Perhaps also the user's AppData\Roaming\Cakewalk folder. Realtime Defender scanning has been acknowledged by @Noel Borthwick as something that can cause unnecessary overhead, due to Cakewalk's streaming its audio from the disk during playback. I'm sure it doesn't help with recording, either, and I don't need every plug-in I load to go through the malware checker every time I load it. Here is what my exclusions list looks like. Add these to your system and see if you get a relief from disk overhead. I think that at the least, Cakewalk Projects and Cakewalk Content folders would be good:

https://www.electronicfirst.com/gift-cards/windows-10-professional-oem Not a scam, it worked a treat to upgrade my old Optiplex. In regard to the obvious questions: IMO, as a Microsoft Certified Systems Engineer from way back, if your home or studio has more than one Windowbox on the network, Pro is a very good idea. It makes it easier to share resources. It's or course possible with Home, but it takes a bit of fiddling to make it work smoothly, and I've never sound a way to get Home machines to publish their names to Network. Pro also comes with Remote Desktop, which comes in even handier than I thought it would. Ob deals forum content: when I download an installer, all I have to do to roll it out to my other two DAW systems is Remote Desktop in and run the installer there. No running around and logging in to each system (I have 2 desktops and a laptop). So whatever computer I happen to sit down with, I don't have to start by running a bunch of installers. For those like me of a "my computer, my rules" mindset, it also makes it easier to control Windows Defender, which can cause performance issues with DAW and NLE work. By default, with realtime scanning on, Defender scans every read and write, so while you're streaming audio from your drive, it's reading it, checking it for viruses....that is some overhead. You can exclude folders in Home, but you can't permanently turn off realtime scanning. The way I have always rolled with anti-malware is either ad hoc or downtime-scheduled scans. I don't like anti-virus programs running in the background all the time. Especially when I'm pushing my hardware to the edges of the envelope. If you think PACE licensing service or Waves Local Server are a burden, they got nothing on Defender's realtime scanning as far as chewing up resources. Defender loves to slam your hard drive.

I tried, lord knows I tried, but it's on my "other people like it but for me it's a resource hog that doesn't make the sounds I'm looking for." Of course, since Massive was in the most recent Plug-in Collective giveaway, that kinda slowed skill acquisition on other synths. Synths are something I don't really need more of at this point. The ones I have are really great for my needs.

I've never really "engaged" with the bx_oberhausen, but given the choice, I'd rather use bx_masterdesk than send my stuff off to BLandr.

Unpopular opinion, I guess, but I've found it useful at times. The original was similar to a Moog Rogue, with a simple organ circuit grafted on to make it polyphonic (the Rogue voice was still mono, so you got Rogueish basses and leads and cheese organ chords).

I got some Antares freebie or other from PB and was taken aback when I had to go to a third-party site to download this CodeMeter app. It looked like it was developed on a shoestring. The Antares plug-in was definitely not worth having to have this thing sitting in my system tray. At least PACE and Waves Local Server have the courtesy to be installed along with the software and then run quietly with no tray icon. It occurs to me that Antares are kind of the Avid of vocal tuning.

This forum does make misers of us all; And thus the lure of higher resolution Is sicklied o'er with the pale cast of doubt, And productions of great pith and moment With this regard their currents turn awry And lose the name of action Venus Theory! In thy admonitions Be all my sloth expos'd.

The guy's site is "Pro Tools Expert," surprise: he's an apologist/advocate for a subscription model. As with so many of my opinions, what I say is "it depends." The entire software market isn't monolithic. You have software that's used for recreation, software that's used in the course of running a business, and software that may be both. The subscription model makes more sense for something being used in business For software that I bought in good faith with an expectation of a certain level of utility, if it's found that the utility suffers due to defects, I absolutely believe the manufacturer should take care of it at no cost to me as would the manufacturer of a physical good that was found to be defective. I don't believe that I'm entitled to anything other than what I was sold. If the product stops working due to some change in the operating environment, well, that's up to the discretion of the developer. Developers who are strong in this area get more of my money.

There's the often-overlooked VX-64 Vocal Strip that comes with Cakewalk. It has a pretty good doubler. I think it's now included with the regular installation, but years ago, you had to go through some steps to make them visible:

I prefer to use italics for emphasis.

Turbo Pascal. j/k

I discovered Mr. Gabriel's solo work via a copy of Peter Gabriel 2 aka "Scratch" from a cutout bin (some of my best discoveries were cutout bin scores) in 1979 and then acquired the rest of his catalog. It was part of my introduction to the New York No Wave/post punk thang. He and Robert Fripp kinda touched down there for a couple of years. I got to see him on the So tour, and it was as great a show as I had hoped, but his output after that....it got kinda....sedate and unadventurous. When he and Kate Bush fell in love with the Fairlight, they started to lose me. My tastes were changing rapidly in the early 80's. I liked him weird, not radio-friendly. My first thought upon listening to this new song was "sounds like a General MIDI demo." Also my second and third thoughts. It sounds very "gridded" and not in a cool EDM sort of way. The sounds he's using seem to have continued down the deflavorized path begun with the Fairlight. His cover of Arcade Fire's "My Body is a Cage" was pretty awesome, I must say.

There was some guy claiming that Dirk would now have a chance to expand his collection of white socks. He was pretty adamant about it....

https://www.theverge.com/23543094/creative-sim-wong-hoo-sound-blaster-obituary-death Dang, that's pretty young. I think about it, and the question for Windows users past the age of 30 isn't whether you ever owned a SoundBlaster, but which one(s) you owned.* This guy created a standard for PC audio when one was sorely needed. Thank you Sim Wong Hoo for making so much possible. *(I don't remember the first one, but the last one I owned, which coincided with my entry into prosumer audio, was a Live! Unfortunately, I had to dump it once I found out that it resampled all incoming streams, no matter what the rate, to 48K. Even if you fed it 48K it still resampled it, and its resampling algo was not good. So my transcriptions of old DAT masters sounded "flattened" in comparison to the bit perfect transfers I later achieved. My first lesson in the fact that a "digital" audio stream could stay in the digital realm and still become compromised. The fact that an $18 CMedia 8739-based card smoked it in terms of quality when taking input from (and sending output to) S/PDIF devices made me sad. The Audigy chip had so much potential.)

This has me curious. RME has about the best rep in the business in regard to drivers (no personal experience). Does the same issue happen no matter what driver mode you're using? I mean ASIO vs. WASAPI Exclusive vs. WASAPI Shared? Not suggesting it as a workaround or anything, but if there's a difference, it might help the folks at Cakewalk and RME if they look into it. With your position as a creator of YouTube tutorials, there is probably a greater motivation to help you sort it.

Can you explain this in more practical terms? I'm not sure what a "dependency" is in this scenario. I imagine that it has to do with the bus having to wait for every track that is routed to it to finish doing whatever it needs to do with the stream (FX, synth computation) before it can do its thing, but in practical terms, how would I set things up to be able to observe this or optimize it?

https://www.hwinfo.com/ (the best view for ongoing system monitoring is had by checking "sensors only" in the start dialog) Google "how do I disable C states in BIOS on my <make and model of your laptop here>"

According to TYLIP, "A selected region will invert the color of the ruler. For example, with the ruler background set to White, the selected zone will be Black, which may render the Selection Marker invisible if it also happens to be Black or near-Black." So the color of the "green bar" is really a matter of the color of the ruler underneath it. In my Blue Flat Dark theme, it appears as very bright white, because my dark themes kinda take "dark" to the next level:

Yes, as @msmcleod suggests, go into your advanced power settings and you will see that your notebook is configured to throttle CPU performance when on battery. Choices: either bring your power adaptor to the gig (my favorite solution), or set the minimum processor performance while on battery to 99% and expect much reduced battery life. Other things to mess with to see if you get any change in performance are Cakewalk's Thread Scheduling Model (I use model 2, you may get even smoother performance with 3). Also turn off the 64-bit Double Precision Engine if you have it on, it's not necessary for your scenario. I also disable C states in my BIOS. C states is another power-saving-at-the-expense-of-performance feature. My favorite freeware utility for monitoring such things as processor clock is HWINFO. That will show you if your clock is bouncing around.

Selecting none is a handy thing to be able to do quickly in Cakewalk. Performing certain operations with too many things selected can easily produce unwanted results. Mapping the tilde/invert quote key to Edit/Select None is the choice for many. No modifier needed.

Yeah, the documentation and actual behavior of wheel zooming don't always line up. I've brought it up in the past. I was going to mention the Zoom Factor settings, as at one point I got into the same pickle you did. Glad you found them. Also, in teh PRV don't expect everything mousewheel zoom to work as described. It doesn't. It's not that far off, but some things, like vertical zoom, just don't work as described in the documentation.

Yes, I know. AFAIK, though, the plug-ins that are branded as such at PA are developed by the brainworx team. Do I have that wrong?

UfA is kind of the odd brand out in the PA universe. They really don't deserve to be included in PA's lowball sales, despite the fact that I've benefited hugely from them. They should be getting more revenue for those amazing FX. And I think for the purposes of this discussion, people are referring to the brands that are developed by brainworx, like elysia, SPL and so on. Unfiltered Audio is a separate company based in Santa Barbara, CA that just happens to be distributed by PA. I'm a fan of Glitchmachines and Freakshow Industries as well. They can really add some crazy ear candy to a track. Not useful for anything but electronica at this point, but if some big time pop producer dropped some Glitchmachines into a hit track, it might become part of the vocabulary, like the autotune glitch thing. Not that I would necessarily welcome such a thing.