#5

I’m diving in right now and it’s my first time using scripts to effect audio. It seems like a very maximalist software and you can do so much so quickly.

#6

Do you use Duplex in a significant way?

I’ve met many who praise renoise and never use duplex (understandably so based on the niche renoise so fittingly fills, but for me duplex seems like it could be a better bridge for those looking to have more sampling and performance in a tracker enviro.

#7

No, not beyond the testing mentioned in the thread above. I agree that it seems to have untapped potential.

#8

Another Renoise fan here. Using it for all my sample editing needs, but also with the grid, mainly as a sampler/plugin host with some external Python scripts to control it via OSC.

#9

I’ve been intrigued by Renoise for sometime but I’m pretty much married to Ableton and I’m reluctant to use ReWire again. Redux looks interesting though. Anyone here using it? How does it compare to Renoise (no comparison sheet that I can find on their site)? I also assume that Renoise itself can still not be used as a plugin?

#10

Are/have any of you used Renoise in a live situation? Renoise seems fairly static to me, in the sense that you play the track and that’s it. I’m trying to expand my thinking on this point. Definitly seems like there are some different ideas, moving loops around, playing some midi phrases on an input device…

#11

I used it to play several gigs as audio and plugin host controlled by external (Python) scripts. You can indeed play notes & phrases, but also play sliced audio (mlr-style or not). Live pattern & song editing (duplex/gridpie) are possible too, but I never found a way to include them in my workflow.

#12

Getting into Renoise again; I was wondering how you all deal with Renoise and hardware? Do you only sample into Renoise or orchestrate synths with midi out and record it outside of Renoise? And how about external effects? How do you deal with longer samples? So much questions hah :slight_smile:

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#13

I used hardware synths controlled by midi from Renoise (with audio routed back to Renoise), it’s super straightforward. Make sure you record audio tracks next to your midi tracks anyway because anything can happen :slight_smile: Samples in renoise can be as long as the track, I never had any problems with those. I didn’t do anything special with longer samples either, but try slicing them - could be fun :slight_smile:

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#14

Does anyone know how to change the midi channel that midi clock data comes out on linux? I looked under preferences>midi but I can’t seem to change it! I have some hardware that only listens for clock on channel 16.

#15

This is strange. Midi clock data isn’t channel-specific. What kind of hardware is that?

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#16

It’s a Boomerang III Phrase Sampler (loop pedal).

Here’s the part in the manual about it:

Screenshot_20181013-081856
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#17

It doesn’t mention that midi clock should be sent to specific channel (which is impossible by design), so I’d just try enabling clock send in Renoise, it should work.

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#18

Oh how would you set that up? Route back audio with the line input routing device? And record the audio with the sample recorder?

#19

Exactly. Switch Latency option in the Line In effect to MIDI Return Mode to play your synths live, record with the sample recorder for storage/editing :slight_smile:

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#20

Ok thanks I’ll try again!

#21

I agree with you, this sounds absurd, but the title of the paragrap is that it receives commands on midi channel 16. I don’t know if it’s poor phrasing or what but that’s quite odd :confused:

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#22

Right, probably just a mistake in the manual.

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#23

New version of Renoise is out:

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#24

A new tool has been designed for further sample manipulation, the SMC Tool by Raul here:

This tool’s got some really handy features that aren’t currently part of Renoise’s repertoire - individual start/end frames with MIDI, LFO, and automation. The same goes for window size and time-stretching.

A lot of these parameters that are now available, I’ve been trying to create Doofers for, and can only get “close”. Or, they simply did not exist for automation purposes before. It’s got a lot of similarities to some Max/MSP standalones (Cconfin and Ultomaton come to mind). So, lots of buzzes, clicks and pops, whirs, etc.

Thanks to Raul on the Renoise forum for taking these points into consideration. These sample manipulation elements are really exciting for those who desire to move into other forms of music. They allow for a greater set of generative sounds to be achieved.

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