Sorry to hear about your problems. Although I don't make music to deadlines, I've done other things to deadlines and I can appreciate what you're saying.
The golden rule, of course, is always have an alternative way of working, because something vital will always fail when you really need it. You're clearly an experienced professional so I feel sure you've got something to fall back on. Good luck with the deadline. I trust you'll make it somehow.
I haven't encountered the problem you've described - yet.
From the way you've said it, it sounds like Arturia hasn't been clear about that, and if so I can well appreciate your annoyance. But this is an inherent problem with software that needs to be designed to prevent piracy - all software, not just softsynths. I've seen people post to this site asking where they can download a manual, when it's obvious they've ripped the software from somewhere and they want another freebee at the expense of the people who've worked to provide the product they've stolen. (I've also seen legitimate requests for good reasons, BTW, so I'm not accusing anyone who's asked legitimately.) Protected software is a complete pain in the ass, but any company that doesn't protect itself is going to get ripped off massively, so it's a necessary evil. But yes, the company does need to be clear so legitimate users can use the product.
I'm currently looking at ways to protect my softsynth investments. I think that's essential - rather like buying vital spares for hardware synths. Basically it needs doing before problems arise, whether they're hardware problems or Microsoft's insistance that we have to use their latest pile of crap if we buy a new PC. Last minute computer changes invite problems. In saying this I sympathise with what you've described. I've had enough last-minute computer hassles to know how dangerous it is to make changes when time is pressing.
With new instruments there's always what Wendy Carlos calls a `shakedown period.' I'd never hope to do more than the bare minimum with a new instrument because of that. I'd think the problems you've described with Brass and the Prophet come into that category. There's a sound problem that needs sorting, and it may take time. You need to rely on other stuff until the shakedown's had time to happen.
The same thing happened to me with my all-time favourite hardware synth, the Roland V-Synth XT. I wouldn't be without it and I use it extensively. But I had a very early one, and there was a problem with the patch memories. Basically they simply disappeared in large batches and left empty spaces where they'd been. This is a brilliant synth, but it wasn't one I could rely on at that point. If I'd relied on it for a deadline project I'd have been sunk - or rather, I'd have fallen back on something else.
(BTW For anyone thinking of buying a V-Synth XT, the problem seems to be resolved now. Feel free to PM me if you'd like to know what Roland did and what I did in the end.)
So yes, I do appreciate what you're feeling, and I hope what I said didn't sound simply dismissive. And Arturia may well be at fault if they haven't clarified the transfer issue. But it's in the nature of things to fail, especially in the early stages. The more vital a thing is, the more vital it is to have an alternative.
