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@sun wrote:

Sun - Shore

Renoise + Omnisphere + Stylus RMX + Hive + Z3TA+2

Sun@LBRY

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@nagz-again wrote:

Hey there, nagz here, again (forgot my old renoise forum access so had to re-register).
Now I am streaming live how I make tunes in Renoise, tune in: twitch.tv/naaaaaagz
See you there

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@stoiximan wrote:

So i have installed pop os an ubuntu linux distro and also installed jack with the following commands.

apt-get install qjackctl pulseaudio-module-jack

Then configure qjackctl to run the following command after startup. Copy it into “Setup…” > “Options” > “Execute script after Startup”:

pacmd set-default-sink jack_out

then sudo editing the /etc/pulse/default.pa file to include two lines under the load audio drivers manually section:

load-module module-jack-sink
load-module module-jack-source

This works perfectly now, no matter what app i have open they all have sound.The problem is i cannot control the global volume in pop os.Any help guys?

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@bunja1979 wrote:

im asking here complete beginner
like after ive sampled a vst or sound
can i add pitch bend ( whats a good value )
and what are some good settings for sampling pads or bass or leads cheers people !!

also for sampling stuff with velocity layers like a piano any tips ?
of course this is just for my own use to save cpu cheers

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@Redman wrote:

I’ve been using the Mac version of CDP/Soundloom today to analyse sounds and impose/replace the envelopes and formants of one sound onto another. The only thing is CDP’s interface is old as shit, I can use it fine it’s just not very intuitive or user friendly to use, plus it actually crashes a lot as well.

So I was wondering if anyone knows of any good alternative software options for doing this kind of thing, or for any kind of spectral sound design editing for that matter?

Example video of someone else doing what I was trying to do today.

Cheers

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@Drop_Shadow wrote:

What is the best way to achieve this: a track where there’s both a wet and a dry output, their values dependending on each other in a inversely proportional way (e.g. when dry output is 0%, wet output is 100%; when dry output is 50, wet is also 50 %).

My solution is this.
I set up a #send device on a track, choose “Keep Source”, assign it to a send track where the wet signal is.

I put a gainer after the #send device.

And finally, I put in hydra to control the dry and the wet signal at the same time. The hydra controls the #Send device’s “Amount” and the Gainer’s “Gain”, so that when one is turned up, the other is turned down.

But there must a simpler and better way to achieve this, right? What would you do?

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@jam_39_s wrote:

Hello, Is it possible to get us out of the box for the 32bit processors?

I have old machines that work very well that I don’t want to replace.
Thank you!

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@Strotch wrote:

It would be great to have a sub-window in the mixer window for easy access to all your plugins. Similar to the instrument/songs sub-window along the right side in the pattern window.

Currently you can click “more” at the top of the plugins window below to have it extend upwards, but it won’t be permanently affixed there, and it ends up obscuring your first couple of mixer channels beneath. Having it on the right side of the screen would make more sense too not just to feel homogeneous with how instruments work in the edit window, but also because channels start filling up from left to right so the right side is more likely to be “free space”.

Quick mockup:

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@It_is_the_wrong_code wrote:

Hey everyone! I need some help with Renoise’s wavetable function. How can I make my wavetables (which I have drawn myself) smoother. Sorry if my English sucks, because i live in another country

Eat your veggies

Limpan

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@stoiximan wrote:

I thought this would be an interesting topic.

I think i found out about Renoise in the Computer Music magazine about 10 years ago or more.I remember i just stared at it and go, this is so beautiful but i didn’t have the guts to learn it until a few years back.Whats you story?

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@Juca wrote:

For more efficient mixing and less losing time, it will be fine to have the ability to choose several effects on the mixer view and apply simple grouped commands, such as copy, paste, delete (with confirmation), activate and deactivate the effects at same time (return touch).

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@Redman wrote:

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@EatMe wrote:

…

<3

Make music and listen to the love.

Still needs a less stereo expanded master to also make this listenable on headphones. Maybe the final sound also is a little too much on the bass region. Sounds great on my simple monitor speakers, but it still needs a mix suitable for both speakers and headphones.

I have typed something here about the track.

162 BPM
key is set to Dm , a lot of half-tone transitions, Dm to D, and C, Cm, and F, Fm
used 19 (of 21, +2 muted, of 24, +3 empty tracks for oversight) tracks

I played a scheme on the Korg M1 synthesizer, preset “Background”.
wrote it down as

G#maj7 G G#maj7/F Fm7
Dm7/Bb Gm Dm7 -
G#maj7/F Gm7 Dm7 -
Bbmin G D -

I programmed that in the tracker Renoise 3.2.1, and then added more chords,
switching from the D to Dm, G to Gm, using a A72b instead of the G, more variation with C, Cm, F, Fm.

VSTi Korg M1 preset “Background” with filter automation in the tracker to make sweepy short plucks.

alternated, all with slow filter and group volume automation:
VSTi Korg M1 preset Analogpad2 altered
VSTi Korg WAVESTATION preset “Dream Strings”
VSTi Korg M1 preset “ClkSoloSyn” altered

I loaded the chords into Band-in-a-Box 2020 by a saved MIDI file.
It translated the chord scheme into 64 bars, being:

Abmaj7 - Gm - Fm7 - - -
BbMaj7 - Gm7 - Dm7 - - -
Fm7 - Gm7 - Dm7 - - -
Bbm - A7 - D - - -
Dm7 - G - C - - -
Cm7 - Gm7 - Dm7 - - -
D - C - Fmaj7 - - -
Fm7 - G - Ebmaj7 - - -

the interpretation by the computer of the Fmaj7 was done as F,
but the bass played an odd note that did not appear with the Fmaj7.

I used the following instrumental tracks from Band-in-a-Box 2020:
Bass guitar:
3114:Bass, Electric, RootsyFunkAlex Ev 16 110 (Half-Time)
Electric guitar single note strumming:
*(repeating the first part of the recording, the guitarist started jamming too much, country riffs…)
3163:Guitar, Baritone Electric, Rhythm BluesyPopSteady8thsBrent Ev 100
Electric piano (part of):
3337:Piano, Electric, Rhythm FunkJeff Ev16 110
Piano (part of):
1993:Piano, Acoustic, Rhythm Jazz4toBar sw 190
Saxophone (part of):
1058, Sax, Alto, Soloist SmoothJazzPoppy Ev16 090 (Half-Time)
Drums:
Realdrums=CongasShuffle[single]: a: Congas b: CongasShuffle[single]
Realdrums=BossaRock^1-a:Blastic, Hihat , b:Sidestick Ride
RealDrums=SambaFull^1-a:Sticks, b: Ride Contemporary (in song set to B part only)
RealDrums=SalsaGuaracha23^1-a:Timbal, B:Bells
RealDrums=RootsyFunkSput^1-a:Sidestick, Kick, b:Ride, Snare (Half-Time)

Samples used:
a kick drum sample cut from the Renoise sample library breakbeats.
a nostalgic Korg M1 Bell hit
a crash cymbal (edited)
a noisy cymbal-like sound (edited)

VST Plugins used:
BassChorus by CloneEnsemble
SupaPhaser by Bram
Freeverb2 (now on Audacity WIKI)
Ozone 8 Elements (Spatializer, can also equalize and limit)
TDR Kotelnikov GE (compressor), on master bus.
otiumFX BassLane (makes bass part mono)

Internal Renoise effects used:
LFO
Hydra
Analog Filter (w/ Drive)
Equalizer 10-bands
Gainer
Bus Compressor
Compressor
Maximizer (Limiter)
Phaser

all put together in Renoise 3.2.1
conversion to flac done with FlicFlac

soon a better final mix and download.

music by EatMe

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@Sajmund wrote:

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@joule wrote:

To the theoretically inclined:

Is there some way or standard, more or less official, on how to perfectly notate or describe chords including inversion and voicing? (it should include a way to notate pretty much anything, including open voicing with x amount of octave doubles or omitted thirds/fifths in this or that octave.)

I realize that it can be done by simply defining all semitone intervals, but in some contexts you want to define it more harmonically. So, I’m pretty much looking for a way to notate voicing that would cover ‘any’ case.

Maybe some software where you’ve seen this done?

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@supercomputer60s wrote:

I have ohm64 midi controller. I want to assign specific sample within an instrument to specific button(pad) on a ohm64’s grid. Let’s say i have a bunch of instruments(which contain sampled loop or two). I’d like to be able to map those loops from different instruments to the grid. Can i do that? Currently the grid plays only one selected instrument across octave range

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@dspasic wrote:

Hi,
I just wanted to express my feelings on (missing) feature, of some older trackers like milky, ft2 etc.

This will help as well to people who experiment with the sound design a lot, and the ones who are mangling with the microtonal music in general.
(i am aware of tool that does import scales)

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@Sajmund wrote:

Meta Mixer with 8? inputs (or more) with faders, like a real mixer

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@spktkpkt wrote:

Is it possible to disable this warning/info:

I don’t need real time priority, but simply adding /etc/security/limits.conf doesn’t disable this warning/info.

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@Raul wrote:

R3.2.1, W10.
Apparently, I had a strange problem with the CPU audio level (top right). On my main machine I use an Intel i7 6700K with 4 cores and 8 threads, and 32GB of DDR4 RAM.

When you start Renoise, an empty song, without any instrument, without playing the song, doing nothing, the audio CPU level ranged from 3 to 11%, changing very quickly. I found something out of the ordinary.

To check if this was common in R3.2.1 and W10, I did the same test on a laptop with an Intel i3, and it ranged between 0.4 and 1.3%.

To solve the apparent problem, I made sure to uninstall R3.2.1 and reinstalled it inside my main machine. The problem disappeared, and now the audio CPU level seems to work correctly.

Has someone else had a similar situation? I don’t think it has to do with any VST / VSTi, or the Sample Rate, or Latency or anything like that. But something was failing here, it didn’t work properly.

I remember that a few weeks ago I didn’t have this problem. Suddenly, it happened. And I don’t know how to explain it.

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