Minimum requirements. No mention of needing the internet passed 90 days. Please fix this BFD or InMusic, ASAP.
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Other than yourself, do you know of any other BFD3 users who donāt have access to an internet connection?
Iām asking because Iāve not heard anyone else unable to periodically put their DAWās on line.
Steve
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My personal circumstances and the circumstances of anyone else is completely irrelevant and none of your business Im afraid.
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How is it not relevant?
The fact that it ādoesnātā say I need an internet connection is totally irrelevant to me as I (and almost 100% of BFD3 users DO have an internet connection)
100% of new BFD3 customers WILL have an internet connection.
Surely thatās relevant? 
Steve
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Steve, Im sorry man, Im so bored of going over this with you. My circumstances are my circumstances. Im not going to explain them to you on a public forum. Dont even ask. Its nothing to do with you.
Im glad its irrelevant to you, thats you. You already bought into this. You do you. Thats fine.
That is in no way relevant to BFD being upfront with new customers, or has any bearing whatsoever on my situation.
With the greatest of respect, stop making this about you.
100%? CLEARLY NOT IM RIGHT HERE TELLING YOU OTHERWISE? 100% of what, you literally pulled that out of nowhere. Circumstances change. I went thru this with you about 2 days ago. Stop asking me personal questions, absolutely none of you business.
Im not going to get a medical chart out just to try and persuade you of every little nook and cranny of my life. If you have an issue with this, take it up with BFD/InMusic.
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Copy protection whether itās C/R, iLok, eLicenser, serial number, whatever system should always be included in the system specs, so as not to come as a nasty surprise later.
Imagine you dislike, rightly or wrongly, iLok, but some software that didnt mention it on the specs uses it. Do you roll over and buy an iLok, or do you think thereād be a case for your money back? I think the latter.
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Sorry number one apologist but you are wrong here. Not everyone has net available. Simple as that.
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I donāt understand how people can be involved music production today and not have internet. Though I occasional do it, I would find it annoying to have to download plugins and sample libraries on another computer that does have internet, transfer those to an external drive and then have to connect that to my production machine to install. And then, have to repeatedly do that for updates and new software. I would go mad.
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Never get ill then, never let your circumstances change. How is this so unfathomable? Rhetorical. I dont have to explain myself and neither do you. This is stunningly unimaginative tho. Dont get in a situation where you have to do all those updates n things and simple, no hassle. Theres tons of us around. but weāre not all on the internet tho are we! 
You do realise musical instruments werent invented with the computer, yes?
I have 70s reel to reel tape deck, and a digital mixer that records. Why would I need to go online ever if i dont want to? Its zero restriction to making music.
Its not that creatively out there and Iāve explained so many times now. I only use BFD, and hardware, thats it. Ive arrange all this so I can be offline for as long as I need to be for long periods of time because I have to be offline for long periods of time. BFD is about to go kaput, I wont have access after August. Thats it, you didnt even need to know that much. Use your imagination
Its not about you! Other people live in different ways. Some poeple make music even without a computer! 
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Now imagine living in the US out in the country where your cable company nor anyone else will give you net, there ya go
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Imagine being a jungle retreat doing field recordings, or in the middle of the desert, just you and a mic, a banjo and your laptop with trusty BFD on it.
This plan is now kaput for various reasons I wont go into but that kinda thing is EXACTLY what I was planning. Other stuff happened instead tho, life gets in the way, but the constant will be NO NET.
Heres a little example of some tiny gear, all battery powered, none of it needs the internet to run, none needs firmware updates ever, noen needs sample updates and all could fit in your pocket, record, multitrack, remix.
This is why I was trying to make Tiny BFD.
EDIT: The thing on the right btw, the square box with barcodes on it, its completely open source. Free to be edited at any time by anyone and uploaded. I dont code so its beyond me, but yeah, open source, successful company, they make products that are designed to not NEED any updates ever. Ive rarely known a nicer company. Swapped the slightest defect model out for a new one without me even sending the old one back, just asked me to send it back in my own time.
Imagine that, and they have an incredible community and its all open source and people love their products.
There is no need to be locked into anything to make music. Things dont have to be like that if anyone wants it.
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Sorry dude, my reply was to @shanabit. For some reason, this forum doesnāt always correctly tag users youāre replying to.
Hey man, no worries at all. My apologies
Yes, its an issue over at Lines forum too, and they use the same forum software. Confusion abounds!
Sorry!
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Agreed, butā¦ the issue was the unscheduled deauthorization rendering $1000ās of investment completely useless during remote client sessions.
use case 1: remote sessions -
Iām sure iām in the minority, but the pandemic changed a lot of things for a lot of people (like mostly losing work/income). we ended up revisiting older projects with longer term clients in remote āpodsā where they felt comfortable working in person with low risk of being infected. The locations offered a great vibe, but without internet access (phones/social media were pretty much off limit as well in order to get things done). And of course, got nailed on the very first sessionā¦ and then a second, but was at least able to drive down to an access point to re-authorize for that one. These were long term clients, so didnāt lose them, but my hourly rate got a lot closer to minimum wage with the extra time it cost to recover.
use case 2: laptop work while traveling
not flying much these days at all, but internet access on the go is not nearly as robust as the ISPs would like you to believe, and ime can get jammed at high traffic sites.
use case 3: unreliable internet service
internet service can be quite spotty in some areas. Not all of us live in major metropolitan centers and options/QoS can vary. the current project studio depends on fixed wireless broadband service, which is LoS and way better than satellite, but still subject to edge and weather issues (such as wildfires, windstorms, etc.).
use case 4: DAW reliability for tracking
have found disabling internet access can substantially reduce the risk of dropouts during tracking sessions. Thereās quite a few āservicesā that like to jump on the CPU at the wrong time, and while iāve sorted out and disabled most of the main culpits, standard practice is to disable it by default, and only enable it as needed.
ā¦
The most recent release appears to provide the means of managing access (still havenāt seen anything official?), expecting to be viable with the additional overhead.
I had suggested iLOK at some point, but starting to find a number of issues with that as well, and retracting my previous suggestion to just use that. Issues have been mostly with the machine authorization going south and rendering everything uselessā¦
ā¦
That being said,
- BFD is by far my largest SW investment (US$1000s)
- It has become a core part of the way I expect to work going forward
(drums are the hardest/most expensive item to manage for a project studio/remote session.) - upgraded to the InMusic version in good faith (to support a preferred tool and respect to the OG core team)
- only find that the investment and future expectations have been compromised by the InMusic authorization implementation.
Standard practice now includes rendering all drum tracks to audio for every session for long term client/project viability. Extra effort, should work for existing sessions, but still looking for a robust alternative.
Wishing them all the best, wish they had a better long term solution, expecting them to do the right thing for those who funded this in the first placeā¦
just my $.02
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Well said.
When some of you were in nappies , I was part of the team developing , and integrating drivers for M Audio , to function on Windows 98 with Cubase.
We were spread all over the UK. We communicated by land-line phones , and posted each other CDās with data.
Steinberg UK themselves sent me all Revisions ,updates and fixes using CDās in the post. Complete transparency and honesty. Steinberg were fully aware that my main studio-computer was way above the spec of their test-machines.
I personally came in around the time of the Delta 10/10 project , with the aim of working in latencies of under 2ms - which we achieved.
My operating-system was just less than 4Mb in size. Running Systray and Explorer , and nothing else. Let that sink in.
I was involved all the way up to Cubase 5 , and early versions of M Audioās firewire cards.
At this time it was obvious that the drive in the industry was to go all internet , and rely on online support and downloads.
I told them they were mad , and that having to run a Firewall and an Anti-Virus program on a music-computer was utterly insane.
They argued it was for the consumerās benefit , and we parted ways unceremoniously.
I did involve myself with Windows XP , and managed to reduce that to around 7Mb when running , but the industry had bought fully into online , and for me it was like swimming through mud.
To fire up Firewalls and AV and watch your system-overhead shrink by 30% ,well that just boils my head.
A sensible studio would employ two systems.
One internet computer in a side-office , and one of my bare-bones systems as main.
All driver-downloads would be vetted on the identical-hardware internet system , and then transferred to the main using re-writable CDās.
Please try and understand that in the old days , we did things in a similar fashion to now. Except that we mirrored drives for backup. We halted sessions to back up. We backed up our backups. In most situations , we loaded the bare-bones operating system at the start of each day , and this was very common for professionals - because that was how I taught them to do it. We were a damn sight quicker too. Total install time for a system with brand new formatted hard-drives was in the order of seconds , not minutes.
Can any of you imagine wiping your hard-drives every night?
Well , thatās what the sane people did.
Iāve had enough of being told āthatās how it isā by some go-with-the-flow idiot on here , and I have taken the time in this post to tell you how itās really done.
You can make up the rest of this post yourselves.
Iāve said enough.
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I still have my delta 10/10. Not used of course now.
But what an interface that was for me. My entry level into the multi in digital world.
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Nice to know I was involved in your conception! Lol
I really miss my quad-Xeon server with 512Mb of ram ,Delta 10/10, an Expert 98 8Mb graphic-card , and onboard raid. No USB. Cubase 3.7. Wavelab 2! With a 4x CD-writer. 100+ simultaneous stereo tracks at 24-bit/48Khz was no mean feat , back in 2000.
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That was the only way for me at that time (price wise) to be able to back everything up on the computer from the Tascam 38 reel to reel (also rotting in the cupboard after all the years).
With the way things are going - online etc - it (the reel to reel that is) may see the light of day again.
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I had a M-Audio Sound Card audiophile 24/96, came in a Carillon Audio PC when I bought it in 2001, I sold it last month still working amazing, havenāt used the Carillon for audio in over 10 years, so I dismantled the machine and sold off the parts.
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