I used to use cracked software. I was involved in the music industry and had received NFR copies of software at tradeshows, and I felt entitled to free software.  I regret this, and think about the loss of income for the people who worked so hard to create the software.

Earlier this summer, I was totally set on Zebra.  It was modular, could do a wide range of sounds, and there were a lot of great presets showing it off.

But I'm glad budgetary restraint kicked in as there were 2 hitches:

Since work and other concerns (like that '3 kids' thing) is keeping music-making time at a minimum, I've been looking for ways to get what music I have out there.  Since I'll be ditching Pump Audio, for licensing I'm trying

So Pump Audio/Getty Images dropped royalties from 50% to 35% recently, citing their inability to run their business effectively (they need to 'support' their workforce, which means they have no idea how to sell music like they sell photos).  I figured it was found money and ok for a couple of surprise checks a year, until I discovered something worse: they republish stuff and take the credit as artist.  So the chances of me gaining some recognition through their efforts are ZERO.

I was waiting to buy Zebra (mainly waiting for some more clients to pay up) but fate intervened.  Last weekend Fabfilter had a promo on a Mac software site to buy Twin 2, Timeless 2 & Volcano 2 for $99.  I missed the deal, but bought Twin 2 anyway because the interface is absolutely brilliant.  Zebra & Imposcar both remain on the wishlist, but I've got my hands full with Twin 2, Filterscape VA and a number of free VSTi that I dig.

I might keep the tracks they already have there if the next check is decent.  I won't send anything new (not that I want to anyway, since they make it hard by asking for a cd), but it's pretty much found money.  And also because I can't find the masters of any of the tracks.  The external hard drive with all my productions on it is, um, missing.  Could be in Costa Rica, could be in the US.  Something, money-wise, is better than nothing. (I reconsidered after reading this...)

I signed up with Pump Audio in 2006, thinking it might be cool to have some of my tracks licensed.  Especially if they ended up on a nature documentary.  My stuff was accepted and nothing happened at all.

Then Getty Images bought Pump Audio, and I figured nothing would improve.  Getty's MO with their image business is to sign up as many photogs as possible and then promote a few big names, shafting the small ones in the process.  I assumed the same would happen to me at Pump Audio and I planned on pulling my music.