I have noticed that the first impression of BiaB is almost always as described by the OP when the program is presented to working musicians.

Musicians are a funny lot.

First they proclaim they are liberal-minded and open to ideas that the rest of humanity will not accept.

Then, they use that standpoint to grant themselves license to be some of the most close-minded folks on the planet.

That said, I think that the first look at BiaB is met with resistance simply because of the way we are built as human beings, which is that we have a tendency to be hardwired to resist change.

On the brighter side, time heals all wounds. I have lived to see the same musicians who panned BiaB at one time come to me and pay me money to make backing tracks for them to play a certain performance, and I often do that with BiaB as the basis. Particularly true of musicians hired to play at trade shows and the like. Once the ice was broken ("Hey man, where did you get those dynamite backing tracks?"), their once loudly proclaimed antagony towards the program diminishes. Slightly. Many do not wish to become BiaB operators or users in their own right, but have at least succumbed to the new paradigm - when it means mo' money in their pockets. Me own wee liddle brudder is an example of what I'm talkin' about here *grin*. He is now endorsing Yanagisawa(Selmer) saxes. I'm certain that his NAMM show presentations for a lesser firm, using my backing racks made in BiaB, had some input towards making that move upwards. Not that his playing abilities could not have done so on their own, for they certainly can. I'm talking enhancement, though.


--Mac

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