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hello, question: working with piano roll studio, I cannot adjust the volume, panning delay and fx, the field is completely empty, you can edit it in piano roll in the program step by step per second, explanation please,

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@taktik

Is there a chance to fix the bad Playbar visibility in high-max Track opacity settings? I think the Playbar should be drawn as last over the track, untouched from the opacity settings from Track backgroundcolor.

happy tracking

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I’ll just drop this here, for nostalgia.

Gravis Ultrasound - The Ultrasound Experience Demo

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Configure the visible columns in newly created tracks with a handy preference pane.

I very frequently find myself having to hide the volume column and fx track when I add new tracks, so I made this tool to speed up the process.
Access the preference pane through the tools menu->New Track Preferences.

If you need to perform this task frequently, you will find a keybind to bring up the preferences pane under Pattern Editor->Track Control->New Track Preferences
The preference pane may be used using only the keyboard (inspired by the excellent command palette ui from @unless ). Press up and down to highlight your desired option, and use left and right to set the values. Pressing any other key will dismiss the dialog

If you encounter any bugs, I would appreciate if you report them in this thread.
Download here

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Is the auto suspend function supposed to be remembered when saving a project?

Most plugins seem to keep the option enabled except for Replika XT by native instruments and JMG Expanse 3d. They both seem to have the option disabled every time i open the project.

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Anybody know exactly what the smooth function is doing?At times it can be a tad too much, wish there was a way of controlling the amount.applied.

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^ Mods, the subject is my message

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I would like to have my tools talk to each other. Is it possible to export functions so they can be called from other tools? For example, if I had a tool that shows a dialog box, I’d like to be able to call a function from a separate tool to trigger it.

Thanks for reading

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There’s been a lot of hype on the internets lately about Life by XLN Audio: 1 (part I’m talking about starts around 11’20"), 2 (skip to 2’20"), 3 (skip to 0’52")

The really interesting part of this plugin for me is how quickly and easily you can use it to get very musical results from pretty much any random sample.

Renoise can obviously slice up samples as quickly and easily as Life can, and it can even randomize those slices very easily, and add various effects to them. But is it as easy to get very musical-sounding results from those slices in Renoise without a lot of painstaking effort or at least trial-and-error? If so, I’d really like to see a tutorial on how to do that.

Sorry if this comes off sounding as a stupid question. I’ve been away from Renoise and music making for a long time, and am just getting back in to both, and this Life plugin has really impressed me, and I’m just hoping Renoise can already do something like that.

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Okay, so I made a custom scale using the Solfeggio Frequencies, and it actually sounds like a legitimate musical scale with all 10 tones.

At first, the Solfeggio Scale was discovered with 6 tones, then 7, then 9, and then I figured out on my own the missing 10th tone that nobody ever talked about.

I want to hear what you guys come up with. I want to hear everybody’s musical style with melodies. I’m not sure you guys even played with this scale; I never heard anyone actually do this in my life, making complex melodies.

There might be a YouTube video on it, but I’m not exactly sure if it even exists.

Rules:
180 BPM, no chords, single notes; use all 10 tones in composition; no percussion; no effects. This should be extremely easy for you guys.

I tried to upload the XRNI here, but it’s too big to upload since all the audio samples are at 96 kHz, 32-bit. And if I use a 7-Zip archive to upload the content, this forum’s uploader wouldn’t accept it, so here’s the Dropbox link. Download

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Keyword: A Spider’s Thread – Nailing A Concept & Misplaced Focus

Keyword: A Spider’s Thread is a puzzle/investigation game that brings together a set of ideas in a very satisfying way. But a disproportionate amount of work put into one aspect of the game prevents it from reaching the heights of its peers.

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Highlight the track at the cursor using its color

Additional settings can be found in the Tools/tint menu

• Adjust the opacity of the highlight if it is too much or too little for you

• Batch recolor all (or a selection) of tracks with a rainbow spectrum

• Customize the spectrum to perfect your hue game

This tool was sitting in my drawer for quite some time but now it’s yours. I found the track color opacity in Renoise to be too much if every track gets tinted but having just the selected track be colorful feels good.

I’ve included the batch recoloring as a bonus. Maybe at some point other color palettes will be added but you can already create different gradients using the sliders (and the Selected target) to fine tune track colors. For example you can reduce the scale to get a smaller range of colors, then use the offset to pick where should the range start.

see the source on gitlab

download from direct link (this zip includes all my other tools as well)

Happy tinting!

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Renoise 3.4.3 lags on my mac mini 2018 with macOs 14.2.1. Sound is ok, but graphically it’s impossible to work because of massive lags. What’s interesting - if the focus is on another window, lags disappear. If i disable Metal based rendering it lags, but in another way (still bad working conditions). Changing the resolution/color scheme/framerate does nothing. It worked perfectly fine before the os update. Other programs work without any lags.

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Hey there guys, I’m new to J-Bridge. I just built a new system and all of my 32-bit plugins keep crashing so I found out about Jbridge and I use it to convert the plugins and none of them are showing up after scanning with Renoise.

Anything I should know? It seems other people on here use it without problems so I’m not sure what I’m doing wrong.

I even got rid of my usual VST folder and replaced it with just the Jbridged VST folder and none of them show up. Renoise does see them when scanning but they just never show up in the list.

So you know I have my old VST folder:

and here’s the new one:

I’m just wondering if there’s a step I am missing.

Thanks ya’ll

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It’s not standard to use a Tracker to record tracks with lots of singing, live instruments, etc. but back in the 90s when I started tracking, I used to create EDM (techno), and sometimes it would include choruses and verses with singing and / or rapping. I managed to do it in the 90s in a very elaborate way using a tape recorder - but being able to do it even then with limited tech has convinced me that not only can it be done in a Tracker today, but that the Tracker interface provides several advantages over other types of DAWs, ala ProTools style.

Many people say Trackers, or Renoise specifically, is not quite built for recording, but is built for programming and sequencing - and they say Renoise is especially weak when it comes to comping vocals or instruments. I think at face value, if you’re coming from other DAWs, this might seem to be the case. After searching even these forums, the standard advice is to use something like Reaper to do all your vocal and guitar / live instrument recording takes, comp there, and import the outcome into Renoise. I’ve tried doing that, and it works okay, but I always find myself just coming back to Renoise and recording takes in there instead. I just don’t like having to use two types of software, and I’m convinced it can be done well in Renoise. It’s something of a challenge for me - I want to prove that any type of music can be made in a Tracker, Renoise especially, as I really believe it can. Some of my producer friends shake their head at it because they’re so used to using what they use, but I’m convinced Renoise presents a unique workflow that makes so many elements of producing a breeze.

To help others who also want to record and comp in Renoise, I wanted to post the tools that I believe make comping absolutely doable, so that others out there that want to use Renoise to do this sort of thing don’t have to spend long hours searching and working through thinking about workflow, as I have had to.

After that, I just want to address how I think one has to think about this style of recording and music creation in a Tracker.

Okay, so first up, you record all of your takes into the sample recorder, which is pretty basic. Each take becomes a new instrument.

Then, the tools:

1. SliceMate
New Tool (3.1): SliceMate
This exceptionally powerful tool allows you to slice samples from the Editor view. Simply pause at the spot and slice where the cursor is.

If all of your recordings start at the same place, which would be the best practice for recording in any DAW, you can place your long recorded samples into one track (or multiple tracks) and slice them all at the same place. Just slice, move the cursor to the next one, and slice. Every sample will then be sliced in the same pots. It’s pretty much like slicing in another DAW, except the advantage here is you can fine tune your slices in each specific sample if there are slight alterations.

2. Slice Importer
New Tool (3.1.1): Slice Importer v1.1 (February 2019)
Slice importer is an alternative option, or one that complements the above tool (or that tool complements this one). If all of your recordings start at the same place (which is best practice in any DAW, so it’s not a workaround), you can slice one of your takes / recorded sample and then copy the slice markers and paste them into the other takes (other instruments). Again, you can fine tune as necessary.

Oh also, a bonus tool: TempoTap - https://www.renoise.com/tools/tempo-tap. Does what it says on the tin.

The amazing thing I’ve found is these are two exceptionally simple tools. I was doing all sorts of workarounds before, fiddling with samples and creating phrases from them, so that I could switch between phrases for comping. But then after finding these I realized the solution is actually exceptionally simple - and I’m sure these tools would be super easy to integrate into Renoise natively in a future update (hint, hint).

After using these, all you need to do after is take your best takes and put them in the pattern editor at the appropriate place. In fact, if you simply put all of your takes onto the same track (into different columns) from the beginning, you can just silence those slices you don’t want. SliceMate is especially helpful for this as the slices are already in the pattern editor. Just use the volume column or the velocity column and silence what you don’t want, or use the pattern editor to mute tracks.

Mindset:
You have to think of live instrument / vocal takes as samples - samples which you can manipulate and place just as any other sample. This may seem obvious, but I think many musicians struggle to see it that way. They see samples as ‘loops’ or breakbeats. Samples are these too, of course, but any recording of anything is essentially a sample and an instrument all of its own. When you start thinking of live instrument takes as creating samples - as creating instruments which you can slice up, it also opens up new creative ways of composing a rock or pop song. Again, I know this seems obvious, but I just think musicians see ‘samples’ as different to ‘recording’, and if you just switch your mind in this very simple way and get into this mode of thinking about ALL of your instruments, composing in Renoise suddenly makes sense, and I think the power inherent in the software really begins to stand out and become apparent.

Anyway, this is my process. If any others here use Renoise to record and comp, and use the software to create music with lots of singing, with instruments like guitars or other live instruments, or even rapping, would love to hear your process here too. Who knows - maybe you have an even better workflow? I really searched on the internet for this and didn’t find much - maybe it’ll be cool to have a thread where others can find answers much more easily.

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Hello dear Community

Sorry for the weird topic name; I’ve marked what is it about in the screenshot below

1. When the automatic instrument selection is on, it selects the instrument which is played first in the pattern, right? Is there a setting to automatically switch the instrument to the ones which are played later in the same pattern? It would be great to have a pattern command for this.

2. Is there a setting to automatically switch to the sample which is currently played within the instrument; basically the same thing like for the instruments? Here I have 16 samples mapped to the keyboard. Auto-selection would be really nice.

3. Is there a keyboard shortcut to move the cursor to a specific track (1, 2… 5); not to the next / previous track but to a specific one? Pattern command for this would be also neat.

Just to give some context… this might come handy when recording a video to show different instruments / samples while the song is playing.

Thanks a lot in advance
Cheers!

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I’m a new user, only really been used to generic sequencer type daws, and for the life of me I can’t figure out how best to get my pads to run smoothly. I produce jungle, but I’m not asking for jungle specific techniques. I’m not even sure if I’m posting in the right place.

Regardless, my problem is I have a VST I really like but it’s very CPU heavy, and I want to use it for pads but I don’t really know what settings are best for the plugin grabber when it comes to a long piece of audio like a pad, and also, if I already have a pad sample, I don’t really know how best to go about using the certain modulation features in Renoise to get it to run smoothly and there aren’t really many youtube tutorials on this. I’m lining things up at the 0crossing but it’s still clipping and I’ve fiddled around with AHDSR to try and make it sound smoother but, no joy. I really really like Renoise for just about everything else, but the only thing I can think to do is go into another daw, create the pad samples for the track and just place that track in Renoise for the whole duration, which I think kinda defeats the purpose. I usually like to figure things out myself but I’m really struggling so I thought it won’t hurt to ask.

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Anyone using Nexus in Renoise and knows why it takes 20-30 seconds to see the presets? Non other VSTI behaves like that.

Here’s a capture. It actually was kinda “fast” this time.

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Looking for a thumbs up or please don’t from devs

Peace to you all

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Made without permission by Willbe (if you don’t count him releasing the samples a long time ago for remixes). To be frank, this is the very first thing I even tried matching it with, and I just went with it. I don’t feel like “making music” out of this stuff, it would feel wrong and I don’t have the nerve anyway. But I do want to honor her wonderful words, somehow.

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