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We're still discussing Bodenstandig in the comments to an earlier post. Jonathan Brodsky has led me to do some poking into the "tracker scene" and I still have questions if anyone feels up to it. Brodsky says "the tracker (impulse, octamed, fasttracker) has become the clearest interface choice for musicians doing the proto-jungle/noise thing." A nitpick, if people are using these old school tracker programs to make current drum and bass it's not "proto-" jungle, because that means "an early or previous form of"; it's more like post-jungle, unless you mean "proto-jungle-esque" (i.e., like early '90s breakbeat techno, jungle's precursor). I know, ridiculous. My (slightly edited) response to Jonathan and standing questions for anybody:
Here's a wikipedia article and another piece on the tracker scene. Also some info on Atari chip-music editors such as the one Bodenstandig used. I'm still curious (and googling) about the interrelationship of the Atari demoscene, amigatrackers, and early rave and 'ardkore. How much was hobbyist/cultist vs real club/dancefloor breakthroughs? Also how much was actually hacked and/or open source vs just using the products companies were selling? Then or now? From the wiki article it sounds like the Akai and the tracker software were inseparable 50/50 partners in defining the "tracker" sound. Is that the same thing as "classic" breakbeat rave or breakbeat techno? The article makes "tracker" music sound like a cheesy variant--did that happen later or was tracker music always the music of hobbyists/Atari cultists? Finally, is the "tracker scene" mainly a European thing?Also, FWIW, the octamed link has a picture of Aphrodite's studio...