no interest reviews of the no audience underground

Digital creation has always been connected to software hacking. Unlike what the record industry and software manufacturers say, using a hacked copy of a commercial software is nothing you can compare to stealing hardware. There are simple reasons to this.

1/It's much easier. If finding a way to hack commercial software or to find debugged copies was as difficult and risky as stealing a guitar is, no one would probably do it. Does a guitar shop leave its doors open at night ? If commercial software used quality code-protection (ie closed the doors and no need to buy a complex alarm-system), hackers would do the simplest thing: *program* their own software.

2/Commercial software almost never is open-source. Compare to hardware instruments again. 'Changing the strings alone without referring to a specialized technician, sticking anything on our guitars, using non-licensed objects to play our guitars or alter their sound in any way, trying to destroy them in any way, changing their colors, their tones or using effects not compatible with our licensed technology is a violation of applicable laws'. Does it sound fair ?

3/Commercial software is outrageously expansive. This is a cliché, but... Despite its price, the Pro Tools system doesn't get hacked a lot, because it provides high-quality & costly hardware with the software. On the other hand, SteenbØrg software that's madly expansive and comes with nothing except a terrible manual and a warning about how bad a boy you are if you use a hacked copy...

4/Most commercial programs are crappy beta versions, crashing all the time and as optimized as windozes. Simply compare free and open-source wares (eg BUZZ or MASSIVA) to expansive commercial ones (eg ReBitches or KooBase).

5/Artists only recently got rid of money. Having to pay so much (instruments, recording studio, mastering, pressing, etc.) to have some kind of terrible auto-produced record out can be seen as a quality-filter. Or may be a chance for majors, their MAJOR chance... What about buying a record from Burningemptinessfellow® singing the soundtrack for Burningemptinessmovie® (special effects from Burningemptinessnightmareworks®) you can watch drinking Burningemptinesssoda® and eating Burningemptinesspopcorn® -don't forget to buy the Burningemptinessvideogame®, too, from Burningemptinessgamefactory® programmers, whose music was written by Burningemptinesscomposer® on Burningemptinessaudioware® and the book from the Burningemptinesswriters® that will shortly inspire the TV-series from BurningemptinessTVstudios® (the adverts cutting the series say you really *should* drink Burningemptinesssoda® but that's a coincidence). Oops, sorry, Burningemptinessfellow® was too demanding, lately, so he's been replaced by Burningemptinesschapfromengland® with even brighter teeth and squarer jaws. Since we're at it : quality-filters (read money-filters) have simply been replaced by quantity-filters (there's so much rubbish out there your art'll never make it if you're not stubborn enough).

5/Now what about this genius programmer trying to sell quality products simply to cover his costs ? Just in case you're wondering we buy registered copies of indie software worth the price, but no one obliges us to buy any shit we can have for nothing. Is there an indie-software scene (used by indie-electronic artists) as there once was an indie-rock one ?

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Digital creation has always been connected to software hacking. Unlike what the record industry and software manufacturers say, using a hacked copy of a commercial software is nothing you can compare to stealing hardware. There are simple reasons to this. 1/It's much easier. If finding a way to hack commercial software or to find debugged copies was as difficult and risky as stealing a guitar is, no one would probably do it. Does a guitar shop leave its doors open at night ? If commercial software used quality code-protection (ie closed the doors and no need to buy a complex alarm-system), hackers would do the simplest thing: program their own software. 2/Commercial software almost never is open-source. Compare to hardware instruments again. 'Changing the strings alone without referring to a specialized technician, sticking anything on our guitars, using non-licensed objects to play our guitars or alter their sound in any way, trying to destroy them in any way, changing their colors, their tones or using effects not compatible with our licensed technology is a violation of applicable laws'. Does it sound fair ? 3/Commercial software is outrageously expansive. This is a cliché, but... Despite its price, the Pro Tools system doesn't get hacked a lot, because it provides high-quality & costly hardware with the software. On the other hand, SteenbØrg software that's madly expansive and comes with nothing except a terrible manual and a warning about how bad a boy you are if you use a hacked copy... 4/Most commercial programs are crappy beta versions, crashing all the time and as optimized as windozes. Simply compare free and open-source wares (eg BUZZ or MASSIVA) to expansive commercial ones (eg ReBitches or KooBase). 5/Artists only recently got rid of money. Having to pay so much (instruments, recording studio, mastering, pressing, etc.) to have some kind of terrible auto-produced record out can be seen as a quality-filter. Or may be a chance for majors, their MAJOR chance... What about buying a record from Burningemptinessfellow® singing the soundtrack for Burningemptinessmovie® (special effects from Burningemptinessnightmareworks®) you can watch drinking Burningemptinesssoda® and eating Burningemptinesspopcorn® -don't forget to buy the Burningemptinessvideogame®, too, from Burningemptinessgamefactory® programmers, whose music was written by Burningemptinesscomposer® on Burningemptinessaudioware® and the book from the Burningemptinesswriters® that will shortly inspire the TV-series from BurningemptinessTVstudios® (the adverts cutting the series say you really should drink Burningemptinesssoda® but that's a coincidence). Oops, sorry, Burningemptinessfellow® was too demanding, lately, so he's been replaced by Burningemptinesschapfromengland® with even brighter teeth and squarer jaws. Since we're at it : quality-filters (read money-filters) have simply been replaced by quantity-filters (there's so much rubbish out there your art'll never make it if you're not stubborn enough). 5/Now what about this genius programmer trying to sell quality products simply to cover his costs ? Just in case you're wondering we buy registered copies of indie software worth the price, but no one obliges us to buy any shit we can have for nothing. Is there an indie-software scene (used by indie-electronic artists) as there once was an indie-rock one ?