![]() And what constitutes a crime in one world doesn't necessarily constitute one in the other (the more astute among you may even note that physical and intellectual property are in fact logically opposed). I first got into electronic music when I was 16. I went from Fruity Loops (now FL Studio), to Reason to Live to Logic, all cracked, before finally settling down and buying myself a nice shiny copy of Logic Pro 7 (and then the upgrade to 8). This was a long process that simply wouldn't have been possible for a 16 year old, if not for pirate software. But because it was possible, I was able to get into music production in a big way and have since spent tens of thousands of Francs on both hardware and software. I have a lot of cool gear and an ever increasing collection of soft synths (Papen's Predator is in the post as I type). In other words, pirate software actually helps spark sales and attract potential clients. I'm 22 now, but when I started making music at 16, it was on a paid-for version of Cubase 5 VST. While other kids asked for MP3 players or whatever else for their birthdays, I asked my father to buy me the sequencer for my birthday. As I got more and more advanced and the limits of the software were starting to stifle me and SX came out, I pirated it. I recorded a lot of good work in it, but most importantly, I learned a lot. Then I got an MBox, got ProTools, and paid for every upgrade up to 7.3 LE. ![]() Now, I'm working on a paid-for Logic Pro 8. ![]() ![]() Would I have bought it, now that I can afford software, had my initial music development not been fostered by copies of software I could not afford? No. And, I did initially "borrow" Logic Pro 8 from Apple. ![]()
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