Taken from http://www.castlex.com/mods/handbook/handbook.htm
Because this is what my ultimate goal is, to get a record contract.
And also, what to do in the recording studio, keeping in mind that you’re working with Renoise? (“Ok Mr. Engineer, could you fire up Renoise now please?”)
Am I the only person who doesn’t like this?
How to get some recognition from the men (monkeys?) in suits?
Maybe up the price to 300-400 Euros? j/k
Man
It’s not a nice sentence indeed also false.
There are artists who had top chart hits with Tracker programmed music.
Some even on Amiga with octaMED!
And that about the recording studio.
you can render your tracks seperatly for mixing,
and even KMFDM uses rebirth.
Well it also mentioned that there WERE people who pulled it off (Holy Ghost being my favorite), but these were said to be very rare. Even Reason seems to be more established.
I myself also have problems with shaking off that unwanted(!) lo-fi feel, it’s pretty hard for me to do that. Bad mixing I guess …
lol… This is bullcrap. I think the main reason why there are so few of them is that not always trackers WANT to get signed. And many people switch to traditional sequencers for some reasons, but I can’t understand what does have respect for trackers to do with number of tracker-musicians in the industry. If you’re able to get a good sound (and you surely are when using Renoise) than there’s no reason why someone would say say that it sucks.
five words
bodgan raczynski
venetian snares
enduser
I don’t know where this comes from… but to me it’s pure crap.
Many years ago, when I still was using Amiga, I simply had luck in having contact with two big italian producers ( La Bionda ) and had “my chance” of having em listening to some of my stuff.
I wasn’t able to bring em a demo cd… so I went to their office… and when they asked me, I directly pulled out my Amiga 1200… and boldly placed it in the middle of their desk moving stuff away… plugged it to the local tv and the speaker set they used to listen to stuff there… and under their amazed eyes I loaded my ProTracker. Bye bye sound quality.
This was after a long journey I took to their once HUGE and supermodern studio… where they eventually showed me some of the wonders of their editing hardware.
Of course it wasn’t possible to compare audio quality… but it turned out they was mightly impressed with my approach to music and musical “ideas” (at that time I was doing some experiments with aggressive dance stuff)
My performance caused some people from near studios to stop and come out to have a look to that weird videostuff (guys… Protracker… in the full glory of its 4 scopes…) There they asked me to compose something to be published.
So I did… they had a listen… they liked it and decided to publish it. I signed my first contract ever and was sent into one of their small studios to work with some of their technicians in order to obtain an EP of 2 pro tracks from my 8bit soundsystem which we sampled and manipulated.
I wasn’t exactly happy with the result… but this is not the point of the story, you know 
The point of the story is: use what you like to compose! This is NOT the problem.
If you have poor/bad music approach/ideas… they are likely to be ignored and you’ll not get any contract. No matter what program you used.
I have other recent stories of FastTracker winning over super-expensive equipment and granting me contracts in the face of other competitors…
Now we’re speaking about Renoise. A tracker… THE tracker… lightyears ahead of the old FastTracker… with a grip on sound quality that was beyond any reasonable hope back in the age of XMs… you have even MORE than you need to impress any monkey.
I totally agree with Parsec here.
At this point of time, with the quality of modern trackers, there is absolutely no difference between traditional sequencing packages and trackers! One can potentially make identical tracks in both! VST and MIDI compatability has brought current trackers to the same level as the cubases of the world.
It’s absolutely silly to discredit a form of sequencing as unworthy of professional attention. It’s complete bullshit! RIght now I’m really into Hiphop production, where hardware sequencers such as the MPC and workstations such as the Triton reign supreme. Newbies tend to believe that getting this overpriced tools will automatically allow them to create hot tracks. Again, this is bullshit. I’ve heard totally wack shit made with hardware sequencers, traditional software sequencers, and trackers…I’ve also heard wonderful shit made on all 3 types of platforms.
It simply does not matter.
Do you own thing.
Peace.
THE Tracker WILL prevail. 
Someone should mail this guy and point out his typo.
People will find any vein reason to somehow separate themselves from the crowd, as: “better, smarter, more talented, and/or more credible.” But if your sense of self worth and self esteem is based on the delusion that you are somehow better than someone else, you rely on and are a slave to said “inferior person” to sustain your delusion of better-ness.
If your sense that you are a winner is founded on your perceived loser, your perceived loser actually sustains your deluded winner status. It’s a joke. Often times the smartest people on earth are most gifted in ignorance. And as ignorance is about picking and choosing the “facts” that defend your delusion of self superiority, ignorance is actually anti intellectual, and inevitably (as well immediately) moronic. Don’t discount the value of your fellow human being and try to convince me you are either wise, smart, thoughtful, or honest. Your profession and belief in your superiority disqualifies all of the above.
You can always spot the inferior people. They are the ones who think they are superior. 
Blessings,
Damon
you took the 5 words right out of my mouth
you took the 5 words right out of my mouth
In Italy this is sort of true:
here, if you want to publish a song, unless it is sampleloop-based or chamber music, you have to provide the score for it to a legal database.
Now you probably know how difficult can be to write a score from ReNoise, expecially if you did not care to put a note off after every note; so in the end for me it is impossible to publish anything, though I’ve had some proposals.
Please keep in mind that the tracker’s handbook is very outdated nowadays. It was the time of ft2 and it2
I really believe that the good music doesn’t depend on the software. So every artist/producer should work with the software he likes most. Whether if its Logic, Cubase, Renoise or nothing more than a pinao and a recorder or something. Music comes from the heart - not from software.
There were tools where you could translate XM to MID files and that kind of sorts, and the midifile could be loaded into applications that allowed you to print scores.
A lot of countries accept hardcopies on disc / tape or anything else that can hold music-data in a reliable format to be registered, it depends on the institute that archives the library of music for that country.
yes, indeed I’ve specified that this is a situation which is only mine:
I live in Italy,
I don’t make sampleloop based music,
and using ReNoise as a MIDI master with a slave score editor is really useless with my music: the best I’ve managed to do is using Anvil Studio to create a kind-of-something-which-looks-like-a-similar-badmade-clone-of-a-hear-rip-of my latest song, which is piano only.
I won’t even try with a more complex song… 
BTW can loop based music even hold a copyright in Italy?
The score of the main melody would have a C-4 at every 4
bars 
Therefore, it sounds like a good idea though.
&
soundmurderer