Music Tracker 2017-2018 Full Free Download
A music tracker (short version tracker) is a type of music sequencer software for creating music. The music is represent as discrete musical notes positioned in several channels at discrete chronological positions on a vertical timeline. A music tracker’s user interface is usually number base. Notes, parameter changes, effects and other commands are enter with the keyboard into a grid of fix time slots as codes consisting of letters, numbers and hexadecimal digits. Separate patterns have independent timelines; a complete song consists of a master list of repeated patterns.
Later trackers depart from solely using module files, adding other options both to the sound synthesis (hosting generic synthesizers and effects or MIDI output) and to the sequencing (MIDI input and recording), effectively becoming general purpose sequencers with a different user interface. Music trackers like Defle Mask and Fami Tracker are commonly used to create chip tunes.
The term tracker derives from Ultimate Soundtracker; the first tracker software. Ultimate Soundtracker was written by Karsten Obarski and released in 1987 by EAS Computer Technik for the Commodore Amiga. Ultimate Soundtracker was a commercial product, but soon shareware clones such as NoiseTracker appeared as well. The general concept of step-sequencing samples numerically, as used in trackers, is also found in the Fairlight CMI sampling workstation of the early 1980s. Some early tracker-like programs appeared for the MSX (Yamaha CX5M) and Commodore 64, before 1987, such as Sound Monitor, but these did not feature sample playback, instead playing notes on the computer’s internal synthesizer. Later, in Rock Monitor 3 and 4 they implemented sample player, usually with short drum samples loaded in RAM memory.
The first trackers supported four pitch and volume modulated channels of 8-bit PCM samples, a limitation derived from the Amiga’s Paula audio chip set and the commonplace 8SVX format used to store sampled sound. However, since the notes were samples, the limitation was less important than those of synthesizing music chips.
MS-DOS PC versions.
During the 1990s, tracker musicians gravitated to the PC as software production in general switched from the Amiga platform to the PC. Although the IBM and compatibles initially lacked the hardware sound processing capabilities of the Amiga, with the advent of the Sound Blaster line from Creative, PC audio slowly began to approach CD Quality (44.1 kHz/16 bit/Stereo) with the release of the SoundBlaster 16.
Another sound card popular on the PC tracker scene was the Gravis Ultrasound, which continued the hardware mixing tradition, with 32 internal channels and on board memory for sample storage. For a time, it offered unparalleled sound quality and became the choice of discerning tracker musicians. Understanding that the support of tracker music would benefit sales, Gravis gave away some 6000 GUS cards to participants. Coupled with excellent developer documentation, this gesture quickly prompted the GUS to become an integral component of many tracking programs and software. Inevitably, the balance was largely redress with the introduction of the Sound Blaster AWE32 and its successors, which also feature on-board RAM and wave table (or sample table) mixing.
Scream Tracker3.21, a popular Tracker for the PC during the 1990s
The responsibility for audio mixing passed from hardware to software (the main CPU), which gradually enabled the use of more and more channels. From the typical 4 MOD channels of the Amiga, the limit had moved to 7 with TFMX players and 8, first with Oktalyzer and later with the vastly more popular OctaMED (all Amiga programs), then 32 with ScreamTracker 3 and FastTracker 2 on the PC and on to 64 with Impulse Tracker (PC) and MED SoundStudio (Amiga and later PC). An Amiga tracker called Symphonie Pro even supported 256 channels.
As such, hardware mixing did not last. As processors got faster and acquire special multimedia processing abilities (e.g. MMX) and companies began to push Hardware Abstraction Layers, like DirectX, the AWE and GUS range became obsolete. DirectX, WDM and, now more commonly, ASIO, deliver high-quality sampled audio irrespective of hardware brand.
There was also a split off from the sample base trackers taking advantage of the OPL2/OPL3 chips of the Sound Blaster series. Adlib Tracker II and many others survive to this day. All Sound Tracker was able to combine both the FM synthesis of the OPL chips and the sample based synthesis of the EMU-8000 chips in the Sound Blaster AWE series of cards as well as MIDI output to any additional hardware of choice.