Musically educated in what? Music. Not genre-based electronic music, but music in it's broadest sense - from bebop to Bulgarian folk music, from Stravinsky to Stockhausen, from Abba to Zappa.
I write music for sync. I need things like timecode support, which is a weird niche thing, but also things like tempo and time signature maps, which aren't.
In a proper sequencer, I can play in a phrase, then instantly quantise it to any time signature and any tuplet I want. Septuplets in 9/8 are no more difficult than straight eights in 4/4. The grid in my piano roll display will conform to my chosen timing, as will the output of my score editor. I can draw in a series of gradual tempo changes to an automation channel, or extract tempo and groove from an audio or MIDI track to use as a tempo map. If that sounds like an exotic requirement, try arranging a piece in a tracker based around drums recorded without a click, or using a tracker to arrange a version of, say, "Anyone Who Had A Heart" by Burt Bacharach.
Trackers represent music in a way that is alien to people who can read classical notation and who have studied composition. Someone with a modicum of training can follow an orchestral score with dozens of parts, scanning the score in real time and picking out the harmonic progression and main melodic theme. That's simply not possible with a tracker, either using numerical or piano roll display. Not an issue if you make primitive electronic music, a cataclysmic failure if you deal with big, complicated arrangements.
Trackers are a toy. They're intolerably crude if you're a professional user who has deadlines to meet, but also intolerably crude if you're merely an amateur with musical training. Tracker users don't know what they're missing, overwhelmingly because they can't read or write music, have little understanding of musical theory and no experience of playing in ensemble with trained musicians.
Again, you are confusing "right tool for the job" with your silly prejudices.
Take me for example, I know Stockhausen because I studied him in my fine arts undergraduate degree in Electroacoustic studies at university.
To recap, the question was somewhere along the lines of "how do you prototype music, I have a casio?" not "how do you write a serialist score for a chamber ensemble?"
Even then, The Linux Laptop Orchestra based in the music department at Virgina Tech uses trackers. Of course this isn't the score to Star Wars and a house in Malibu; it is very left field stuff, but it can't be denied that this is serious contemporary practice for anyone in the know.
Thank you conner_bw and jdietrich for covering topic a bit more deeply here. I am open-minded and I like discussions from various PoV. Even if I am only a guy with casio (somehow it sounded like a really lame thing, is it? :>), I happily get to know more about professional-like stuff, as I am perfectionist deep in my heart. But I also almost always try to find the most effective way of what I am doing (and often this finding part takes more time than doing the job, oh well...), like writing scripts for one-time task that could be done quicker by hand, etc.
I write music for sync. I need things like timecode support, which is a weird niche thing, but also things like tempo and time signature maps, which aren't.
In a proper sequencer, I can play in a phrase, then instantly quantise it to any time signature and any tuplet I want. Septuplets in 9/8 are no more difficult than straight eights in 4/4. The grid in my piano roll display will conform to my chosen timing, as will the output of my score editor. I can draw in a series of gradual tempo changes to an automation channel, or extract tempo and groove from an audio or MIDI track to use as a tempo map. If that sounds like an exotic requirement, try arranging a piece in a tracker based around drums recorded without a click, or using a tracker to arrange a version of, say, "Anyone Who Had A Heart" by Burt Bacharach.
Trackers represent music in a way that is alien to people who can read classical notation and who have studied composition. Someone with a modicum of training can follow an orchestral score with dozens of parts, scanning the score in real time and picking out the harmonic progression and main melodic theme. That's simply not possible with a tracker, either using numerical or piano roll display. Not an issue if you make primitive electronic music, a cataclysmic failure if you deal with big, complicated arrangements.
Trackers are a toy. They're intolerably crude if you're a professional user who has deadlines to meet, but also intolerably crude if you're merely an amateur with musical training. Tracker users don't know what they're missing, overwhelmingly because they can't read or write music, have little understanding of musical theory and no experience of playing in ensemble with trained musicians.