When I purchased QL Brass from , I sent no registration parameters to them or Nick. How does anyone know the CD is uniquely mine? Since most likely I discarded the receipts, how will anyone know this is a legitimate copy?
clueless,
You purchased the sounds from didn\'t you? They obviously know your name and information since you ordered it and they sent it to you. And they obviously know which exact copy of QL Brass they sent you since they had to put it in a box and mail it.
So there you have it. Nick now has a Name (yours) attached to a specific serial number (on your copy of his Brass library). You\'re now being watched!
The \"SWAP MEET\" was a sample cd rom pirate fest. Many sample libraries were exchanged amongst working composers and others. There is a big problem here!
Congratulations, Nick . I\'m glad to see that sample library producers have an effective way to protect their property. (Now if only there were an equivalently effective mechanism for composers and performers....)
<BLOCKQUOTE><font size=\"1\" face=\"Verdana, Arial\">quote:</font><HR>Originally posted by Munsie: \"(Now if only there were an equivalently effective mechanism for composers and performers....)\" Doesn\'t legal copyright cover this?<HR></BLOCKQUOTE>
If legal copyright were enough, the recording industry wouldn\'t be spending so much effort on their attempts (ultimately futile, IMO) to sneak \"uncopyable\" CDs into the marketplace.
<BLOCKQUOTE><font size=\"1\" face=\"Verdana, Arial\">quote:</font><HR>Originally posted by Nick Phoenix: The \"SWAP MEET\" was a sample cd rom pirate fest. Many sample libraries were exchanged amongst working composers and others. There is a big problem here!<HR></BLOCKQUOTE>
Congratulations, Nick. I hope you NAILED both the \"swapper\" and the \"swap-ee\" and exchanged information privately with other developers who could have been affected.
I have heard about such \"high profile\" swap meets in LA, one in particular. This may well be the same culprit, he has been detected and cut off from many sources of materials, so whatever he gets he deserves.
I find it laughable that someone would actually believe they could get away with this for very long. I provided a lot of loops for Sonic Foundry\'s original ACID release, and I can recognize my loops in a split second, even if they\'re buried in a piece. Even with orchestral libraries, it usually only takes a few notes for me to know the source of the sounds. For someone to believe that a developer who has spent months on a product wouldn\'t recognize his own work is just so stupid--especially with watermarking algorithms that are extremely detectable.
The irony of it is that most people with a public profile have no problem securing endorsement deals, etc., which would reduce their cash outlay. That someone on a high level would risk damages using pirated software is REALLY stupid.
Congratulations, Nick, for striking a blow to the casual piracy that hurts so many people. I think there should be a great deal of respect afforded developers of samples, who risk huge sums of money on a product which has a very slow rate of return.
<BLOCKQUOTE><font size=\"1\" face=\"Verdana, Arial\">quote:</font><HR>Originally posted by Michiel Post:
Nick, can you point me where to find info on the watermarking your library used? I\'m interested for my own titles.
Michiel POst<HR></BLOCKQUOTE>
Michiel,
I don\'t know which technology Nick uses, but I know that Ernest Cholakis at www.numericalsound.com has developed one, called \"Sonic Trace.\"
I believe it is the one in use by Dan Dean and Gary Garritan, although I am assuming that by association, and could be totally wrong.
At any rate, I have heard nothing but positive comments about Ernest, so I\'m sure he would be happy to answer any inquiries. His website is well worth a visit, anyway. He has done huge amounts of research on all sorts of musical subjects, and his work is a fascinating read.
Also, he has developed two very nice Giga libraries, Percussion Wall and Drone Archaeology.
. I\'m glad to see that sample library producers have an effective way to protect their property. (Now if only there were an equivalently effective mechanism for composers and performers....)
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