Most TyMusicDB users use it to monitor a radio or tv channel in order to find out when and how often specific songs or commercials are broadcasted.

That will depend on what format an original recording is given. If you have an audio-file such as mp3 or wav, it can be directly added to the database (see file-menu or drag&drop the audio file). Mp3 files need to be 44Khz/16bit. Wave files can be 11KHz/22KHz/44KHz 16 bit. You can also directly add songs by recording them with a microphone.

To use this program, you need to

1. Extract or record fingerprints from audio data.
2. Load those fingerprints (see file-menu). The titles that appear on the Songlist are songs that are loaded in memory. Only those songs will be recognized.
3. Choose audio-in device (Options/Select sound device) and set parameters.
4. Activate channel.
5. Play music that is to be recognized.

The signal-bar will show you if there is any audio data coming from the currently selected audio device.

Warehouse 13 File

The show’s greatest narrative risk was also its most rewarding. In later seasons, the writers made the audacious decision to introduce H.G. Wells (Jaime Murray) as a brilliant, morally complex female agent betrayed by history. This was not a gimmick; it was a powerful deconstruction of patriarchal history. By revealing that the literary canon had erased H.G.’s gender, Warehouse 13 argued that the warehouse itself is a tool of an incomplete, often biased historical record. H.G.’s arc—from villain to ally to tragic hero—allowed the show to question the very morality of the “snag, bag, and tag” mission. What if an artifact wasn’t dangerous, but just lonely? What if a “bad guy” was just someone history forgot to save?

This thematic weight is balanced by the show’s most potent weapon: its characters. Unlike the stoic loners of genre television, the inhabitants of Warehouse 13 are gloriously, messily human. Pete is an impulsive, empathetic “vibe-reader” who uses humor as a shield; Myka is a rigid, literature-quoting control freak whose need for order masks deep vulnerability. Their partnership follows the classic “buddy-cop” arc, but with a rare emotional intelligence. They argue, fail, protect, and ultimately love each other without the forced tension of a will-they-won’t-they romance. This is best exemplified by the denizens of the warehouse itself: the eccentric, melancholic caretaker Artie Nielsen (Saul Rubinek), whose guilt over a past betrayal haunts the first two seasons; the brilliant, hyper-kinetic Claudia Donovan (Allison Scagliotti), a teenage prodigy who finds a home and a purpose; and the formidable, no-nonsense Mrs. Frederic (CCH Pounder), the warehouse’s enigmatic steward. Together, they form a surrogate family held together not by blood, but by shared secrets and mutual redemption. Warehouse 13

In the golden age of prestige television, dominated by anti-heroes and bleak landscapes, a modest sci-fi dramedy about two Secret Service agents chasing a haunted teakettle felt like a charming anachronism. Yet, from 2009 to 2014, Syfy’s Warehouse 13 carved out a unique and beloved niche. While its premise—a secret U.S. warehouse storing magical artifacts—invites comparisons to The X-Files or Friday the 13th: The Series , the show’s true genius was not its inventive mythology or steampunk aesthetic. Rather, Warehouse 13 endures because it was, at its core, a profound and witty meditation on history, trauma, and the transformative power of found family. The show’s greatest narrative risk was also its

Of course, Warehouse 13 was not without its flaws. The special effects were often B-movie quality, and later-season mythology involving the “Regents” and ancient entities became convoluted. But these imperfections felt like part of the show’s handmade charm. It never pretended to be a sleek, cinematic epic. Instead, it built its world on chemistry, wit, and the simple joy of a well-placed pun. The show’s finale, “Endless,” remains a benchmark for how to conclude a genre series. It does not end with a massive battle, but with a quiet, tearful ceremony where Artie passes the warehouse’s “farm system” to Claudia. The cycle of care continues. Pete and Myka finally admit that their partnership is the love of their lives—a love that needs no physical consummation to be real. This was not a gimmick; it was a

In the end, Warehouse 13 succeeded because it believed in the radical power of curation: the idea that how we store, protect, and interpret our past defines our future. It argued that broken people, much like broken artifacts, are not garbage to be discarded, but treasures waiting for the right caretaker. In a television landscape increasingly obsessed with cynical destruction, Warehouse 13 offered a different fantasy: a world where the government’s most secret agency is not an assassination squad, but a library; where heroes don’t just defeat evil, they understand it; and where the ultimate superpower is not strength or speed, but the ability to make a found family feel like home. For those who found it, the warehouse was never just a place—it was a promise that no one, no matter how broken, ever has to face their history alone.

The show’s central metaphor is elegantly simple: every artifact—from Lewis Carroll’s mirror to H.G. Wells’s chair—is a frozen moment of intense human emotion. An object becomes “charged” when a person experiences a peak emotional state, be it rage, despair, or genius. To touch the artifact is to relive that original trauma. This premise elevates a “monster-of-the-week” format into a philosophical inquiry. The agents, Pete Lattimer (Eddie McClintock) and Myka Bering (Joanne Kelly), are not just hunting objects; they are confronting the psychological residue of history. Each retrieval is an act of emotional archaeology, a reminder that the past is never truly dead. The warehouse is not a museum; it is a trauma ward for history’s most dangerous breakdowns.

It shows how well the fingerprint of the sample matches the fingerprint of the original music in the database.

This will not significantly slow down the search. It does take up more RAM though which might affect your computer's performance.

That depends on how much RAM (Memory) your computer has. A computer with 2 GB of RAM can have up to 10.000 songs loaded in memory. The free version is restricted to 500 songs.

The fingerprints are stored as separate files in your My Fingerprints folder which is located in your My Documents.