Why

[LPChip]

I always found it, also as with fast tracker, quite hard to look through. All these buttons that look alike. Each time you need to be in one of these menu's, you start looking. In MPT you find it at the first search.

[Harbinger]

I am both a classical composer AND a sequencer AND a tracker -- i even went to the University of Minnesota to become a symphony conductor (unfortunately had some real-life issues). I have seen it from all sides so if you will indulge me...

I would like to echo most of SamZen's comments and conclusions, but i shall stick to the point of your question: Respectability as any kind of artist is given by the community and handed down by your colleagues. What that means is, the consumers of your artwork will decide as a whole whether you are indeed an artist, if not now, then perhaps posthumously after your influence or innovation has been displayed. However, your colleagues also afford you a different kind of respect, and unfortunately, i've found, that means there is an unspoken "pecking order." And here it is:

1. Classically-trained composers
2. Classically-trained performers (cellists, flautists, etc.)
3. Hobbyist performers (rock musicians, studio artists, etc.)
4. Hobbyist composers (most pop songwriters)
5. Sequencers
6. Trackers
7. Club DJs/mixers

Now i had to stretch the contexts of these adjectives a bit so you understand what kind of musicians i'm talking about. To translate the list, this means the conductor/composer John Williams would "look down on" the world famous cellist Yo-Yo Ma, who would feel superior to Bono, who would feel superior to songwriter Carole King, who would feel superior to Jan Hammer, who would feel superior to, say, our own Sam_Zen, who would feel he was above your average club DJ. (Sorry to use you as an example, Sammy, i know so few trackers :wink:.)

Most of this order of respectability is based on fame, influence (both of these are based on your connections -- "who you know"), skill, and raw talent, but not necessarily any particular order. It seems to me formed alot by pop culture, but also by innovation. And i'm sure many of you would argue that marketing is also a huge factor.

The best way to bump yourself up this list, it seems, is to create something that everyone likes and wants more of, whether you went to school for it or you just have raw talent. Respect is gained by your colleagues, i think, by your influence either on pop culture or on your colleagues.

Now, from my own personal POV, i find that one of the disadvantages of tracking (and sequencing) software is that it allows people with no talent to throw things together and, voila,  we have another musician wannabe who thinks he's the next Mozart. Then with all these unclever artists throwing more unclever noise onto the pile of consumable data out there, it's hard to find the real jewels hidden in the garbage. I believe that this is also at the heart of why classically-trained musicians look down on digital musicians.

However, i also love tracking and sequencing, and i've noticed that the flip side of that argument is that, while, yes, alot of uninspired sound gets passed off as "music," these easily-accessible applications (like MPT) allow a hidden musician to bloom, and every once in a while a new artist finds that he has a real talent and liking for creating and composing. And so he is given the tools to touch and influence those who he may come in contact with, even if it's only a few other musicians. A perfect example is Quincy Jones, who i believe was already a classically-trained Jazz musician and composer. The influence of popular music, from R&B to Hiphop, is so pervasive in his compositions that his staying power and influence among younger musicians is undeniable. And those same pop influences came from the studios of sequencers (which he helped spawn BTW) and now trackers. (Trackers are a fairly new breed of musician, probably the newest.)

Plus, trackers are probably tracking because they lack the resources to get done what they really want to do, or maybe they're experimenting to see if they even have any talent or desire for this kind of artistry.

The main point is, if it's obvious you THINK about what you put together, most of your colleagues will see this, and they will give you your props for your skill and/or talent.

Anyone have anything to add?

[Sam_Zen]

OMPT is priceless. And there are a growing number of free, or open source apps nowadays with high quality.

anboi has a point. A decade ago the majority of tracker-modules on the web was very mediocre. Mostly attempts to imitate some popular hit indeed. So that's maybe still the reason for this imago of trackers.
Then, the majority were amateurs, now, the majority is more professional I guess.

[LPChip]

Then, the majority were amateurs, now, the majority is more professional I guess.

I fully agree. I think there are trackers that are more proffessional than most commercial artists. It seems that the trackers standard was raised above of the commercial artists. True there are better commercial artists, but I hear so many "easy" songs coming out that I think: damn, this song sucks, how did they got to make it? I can do better

[speed-goddamn-focus]

I disagree with that. Perhaps trackers in general are more experienced these days, but that's because of the lack of newbies.