The music production has much time did not exist only some dedicated categories of softwares. Nor we need to go very far. In the early 90’s these categories were, basically, the following ones: – Sequenciadores (former.: Cakewalk, Logic, Power Tracks); – Programs of notation (former.: Encore, Finale); – Multi-tracks (former.: Pro Tools, that in its first version, of 1991, offered 4 tracks of audio and cost U$ 6,000, 00); – Automatic Arrangement (former.: Band-in-a-box). The digital technology still was expensive and impracticable for the audio one. The table computers were not common articles – especially in countries as Brazil – and so little were capable to answer to the requirements of audio processing demanded by the digital one.
The musicians had terror of sequenciadores, a little for preconception another one little for laziness to learn language MIDI, that sufficiently is complicated. Notation programs also were expensive, difficult to be manipulated and nor always they produced partitions of easy reading. what to say of the programs of automatic arrangement? The intelligent keyboards of the line and the Roland sounded so amateur how much (nothing against these equipment but they had absolutely been projected for the amateur public). In this scene, the recorders of coil, the pautado paper, the pencil and the rubber still were the best options. In the second half of the decade of 80, set-ups of keyboards and modules of sounds hardwired in sequencia saw MIDI (in a type of known linking as daisy chain), had especially started to be frequent in the palcos and in the studios of writing. The possibilities of combinations were immense but, basically, two forms of set-up were more common: 1. Controlling keyboard + Sequenciador + Enslaved Keyboards and/or Modules of Sound. The Controller (Master Keyboard) was responsible, as the proper name suggests, for controlling and having access all the Enslaved Modules of Sound and/or Keyboards and also to generate information MIDI for the Sequenciador.