Software Copy Protection for Pro Tools – The Worst of Both Worlds?
I know I’m ranting, here, but I just can’t help it. So, I apologize in advance.
I was a vocal opponent of hardware dongles and key disks way back in the 80’s, and I thought we were beyond that, until I started looking into Digital Audio Workstation software for my home Voice Over recording studio.
After reviewing what was available, I settled on Pro Tools, since I needed an interface for my studio microphone anyway (XLR connection and 48 volt power), and Pro Tools came bundled with a pretty good one. I only bristled at the hardware dongle aspect for a moment (the software won’t run without one of the approved audio interfaces attached). I acquiesced since, for my purposes, I’d need to have one attached to do anything useful (you can’t do much voice recording without a microphone).
Upon installing Pro Tools, I quickly verified that it wouldn’t start without the interface, then I connected the interface (Digidesign Mbox 2), and it started right up … almost.
Now, even though it would seem that the presence or absence of the Mbox2 effectively implements any needed copy protection, on the first execution of Pro Tools I still had to enter:
- A 14-random-character ID
- A 4-character “Release Code”
- An 11-character serial number
…for the connected interface. WTF?
Pro Tools comes with a wealth of plug-ins, many of which look really useful. In addition, the package I purchased included a bundle of added plug-ins. On going through the packaging, I discovered that these additions required key codes to use, and these codes reside on a USB dongle (a PACE iLok). But, in addition to requiring the presence of the iLok, the first time I tried to use them, up popped a dialog requiring entry of:
- A 14-random-character ID
- An 11-character serial number
Again, WTF?
Cryptic software keys are bad enough, hardware dongles are almost always bad, but both?!?!?
Maybe it’s just me, but this really bothers me.
Addendum
A reader has pointed out that DAW applications (and all audio apps) are heavily pirated. I still contend, however, that no copy protection scheme has ever managed anything more than to temporarily slow down the pirates and crackers, and at the cost of unduly punishing legitimate users.
The more egregious the copy protection, the more you alienate your Paying Customers! And for the others, it only needs to be cracked once. Copy protection has never made good economic sense, and it still doesn’t.
