Adam Calaitzis wrote: > It brings up an interesting point, If this guy was on windows, we cant say > "go buy the software" anymore. Indeed quite an interesting point... actually, the situation is quite new (or let's better say rare) - while you can still buy quite some old (= discontinued) software and of course have to care about legal infringements and such, what about an (existing AND still up to date) program that you'd like to use but simply can't buy? Even from Emagic's/Apple's point of view this couldn't be too bad because the potential user in question might like Logic so much that he/she will go out and buy a Mac one day, which in any case means profit for Apple, regardless whether the person will continue using a crack or get a legal copy instead. Neither of the two however will lose any money at all if the person is continuing his/her life as a PC hardliner. Let's assume some mate will come over to my place and simply see how much better Logic is than any other sequencers (this happened quite a bit in the past). Now, that mate allready has a high end PC and would like to give Logic a try. In the past I could've told him/her to get one of the cheap versions (i.e. Silver) and crossgrade in case he/she liked it a lot- am I really supposed to tell him/her to get a Mac first? Nobody would do that. Or would Emagic like it any better if I told him/her to stay with Cubase/Sonar? Things even get a bit more funny if you consider the fact that there are quite a few PC persons that even have their legal copy of Logic allready but didn't update to 5.x yet. With any prior versions there's NO way to get the EXS anymore (retail that is, I'm not sure how easy it'd be to get a used license transferred). With 5.x you could just get the Mac version as the instrument authorizations are cross platform, for 4.x however you'd need the CD which isn't sold any longer. Oh... please, let's not start another "crack vs. legal" debate, but this scenario indeed is weird. Regards, Sascha
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Re: [exs] Re: tuning problems in exs
2002-11-19 by Sascha Franck
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