Trackers are so different from anything else. Iv tried to get people into it who grew up on Atari St and Cubase.
All the cool kids had amigas with protraker
Aviod anything thats ‘industry standard’
I grew up with an Atari STe and used trackers exclusively.
I tried Cubase once just out of curiosity, thought it was complete shit, and then immediately went back to NoiseTracker 
Later on I was rocking with 8 channels @ 50khz with the amazing Octalyser tracker.
So not all the cool kids had Amigas 
So not all the cool kids had Amigas
This kid had one with protracker and 8ch octaMed3.00. I’m still having fun with my amiga actually 
whaa oldskool times. sniff still loving it.
I understood it as “people who get their shit released on labels, and not just as free mp3s on the web”.
I absolutely agree.
A musician usually doesn’t limit himself to only ONE tool, many tools (hardware & software) may be used in the process of producing a good art-work. I’ve partly used renoise in making music for some TV advertisements, cartoon music, and also pop-electronic music here.
is pretty damn true…
but size does matter! 
(at least thats what i hear, hahah)
how Renoise comes into this? i’m exactly not sure.
i do know me and many others wouldnt be able to make the music we make without the darling Renoise.
one last thing: professionalism has nothing to do with software or hardware, its a dynamic level of skill, thats all.
To give you an answer
I use only renoise to compose
Since 5 days my last vynil is the month’s world best seller in hardtechno.
Renoise can fight on the same level as the others softs man!!
Hi mat I’m max from italy! 
I want to know if you use renoise to trigger hardware ! 
THANX
Thinking of a big known professional star using your software to make music?
Look at his…
It’s Mike Oldfield in front of… OOOPs, it’s FL Studio. 
And he is known for music that is a little bit different from hard core and break beat stuff…
BUT all those things are not important. I also grew up with trackers (while don’t use them much) and I loved the music of rather unknown musicians, especially in scene demos and games… that’s what I like at most… who cares how professional they are? Ok, sound quality of some mods could be better today… but creativity is untouched and this counts.
Robbson.
from russia anybody there?)
iam work in renoise 2 week-and in trackers-renoise its very perspective and powerfull programm.
but sequencer is not flexible.: if i want little change sounds or drums-i well make a new general pattern.
my point of view-sequencer in buzz- its step forward in trackers development
I changed to renoise just because of this Buzz-Stuff was too complicated for me
As I don’t do stuff for demos or have to watch memory consumption in general, I don’t care how many patterns I use. Basically it seems more logical for me to copy a whole pattern and change it then.
That’s a bit sad to see Mike doing that. Man, his analogue recordings of the early 80s are mind blowing. But then again, Mike’s newer stuff hasn’t grabbed me too much either. Some people change. So be it.
His last album wasn’t bad. And he produced only 1 track with FLStudio which is sounds total different and uhm… cheap.
Well. I know some hardstyle-producers who use ableton, logic and “for the quick release” even fruity loops. That is the proof that everybody should use the tool which fits the best.
IMHO Renoise is really nice for doing every style of music. But, to be honest, I really think doing classical stuff is easier with Cubase although I know that even screamtracker (Skaven’s 2nd reality soundtrack) was able to sound like a big orchestra.
It all depends on the technical skill of the person. Most “professionals” (e.g. people with a record-deal) use Logic or Cubase just because Renoise has those HEX-effects which are really nice but on the other hand really some sort of technical.
Now, that’s a ridiculous (if not lame) claim, seriously. It’s still mighty unclear to me why some people hold some kind of grudge against Buzz (though I might suspect some technical issues here courtesy of a certain nonexistant hd backup), but here’s a small example which, I hope, will serve to prove that you’re a little wrong on this one.
It’s a sort of symphonic IDM-beat I’ve made completely in Buzz, some while ago before i bought Renoise 1.5.2. Of course, it’s not a full-scale Beethoven piece, but it manages to interweave symphonic orchestrations with some sort of glitchiness and beat.
Here’s quick link
(mp3 6 megs)
http://users.iptelecom.net.ua/~oleksus/Iron%20Horse.mp3
With all due respect to Renoise, Buzz still stands firlmy on its feet with bright future ahead (considering some very interesting developments on the Linux front). Anyway, i have produced and released tracks made both in Buzz and Renoise. Just as Renoise, i consider Buzz a severely powerful and innovative tool; it just offers a different approach to tracking, and I CAN’T for the life of mine say where EXACTLY it is inferior to classic tracker\pattern style.
And besides, unless Renoise will someday have scripts enabled, Buzz will remain my weapon of choice for live performances cause it’s the only thing that allows to work with such mindblowing flexibility onstage. (that’s why I’ve so often nagged about this in the suggestions thread).
Cheers!
well sorry, I really don’t want to start a flame here, because of course everyone can use whatever he wants to produce music, but your reply seems to me even more ridicolous-if-not-lame than mine.
when I mentioned “orchestral music”, I did not mean “music with a sampled violin lead”. We all know that BUZZ is completely capable of loading orchestral samples, as well as any other kind of samples.
beside of that, I liked the song.
That is still quite vague. It seems a little too black and white.
I have three songs appearing on vinyl shortly. It will be released by a label and sold in record stores…
Does that mean I am a professional now? Am I in the same league as…say…JayZ?
(g)
I don’t rely on major artists for music any longer. I find that the musicians I happen to listen to most offer their wares for free; many appearing on this very website.
There is NOTHING cutting edge about commercial releases. There is a lot to be said about people who have a true passion concerning their music and making it available with no strings attached…
I can definitely agree that using a program like Cakewalk makes composing neoclassical easier than a tracker. It was much easier to record in sections in realtime, quantize to tighten things up, etc.
When I create with a tracker when doing some piano melodies with chords and things more complex than just a single lead with single notes it is so tedious.
Then there’s hoping that melody in your head remains while inserting all of those notes…
[quote=“Marc Shake, post:34, topic:19248”]
:snip:
IMHO Renoise is really nice for doing every style of music. But, to be honest, I really think doing classical stuff is easier with Cubase although I know that even screamtracker (Skaven’s 2nd reality soundtrack) was able to sound like a big orchestra.
:snip:
me. from moscow $)
Personally to me, ‘professional’ has always meant doing things ordered by a customer (or a boss). It’s like you have been signed to a label and you have to keep within a certain style\terrain (even those you’ve once created yourself). So, I would consider myself a ‘professional musician’ if I was able to write a song with certain ‘specifics’ ordered by some customer, even though some of them did not meet my personal taste.
(Music for games\films\radio\TV etc)