Possible quantizations include line, beat and bar. This is obviously a huge improvement if you like to play a sound live, with crystalline timing precision. With Renoise 3.0, you can now also define the time resolution when playing instruments. Input Quantize: When recording notes into Renoise, you have always had the ability to quantize the time to a certain amount of lines. This is great news for people who have a desire to create acoustic instruments with a more convincing, natural character. In Renoise, this is now easily achieved, simply by stacking your layers on top of each other, and then selecting among the playback modes: Random / Round-robin, Cycle or Play all (“Play All” being the default choice, and identical to how sample playback works in the previous version). For example, an single acoustic snare might actually be made from four different recorded hits, each one sounding slightly different from the rest. If your sound-card supports it, the audio signal within each chain can be routed to a different physical output.Ī common feature in many samplers will allow you to define groups of sounds that should be played randomly, or in a sequential order, each time a key is struck at a certain pitch and/or velocity. You can create (any number of) internal effect chains, and assign a sample to any chain – including the ability to route between effect chains, exactly as you would do with tracks in Renoise.Īpart from applying sparkle to the sound, Effect Chains double as a routing matrix. This is why it’s such good news that any sample-based instrument will now be capable of harnessing that power too. Essentially, these effects are great for sound design and can transform any sound into something completely different. The number of built-in effects in Renoise has grown over the years – everything from workhorse effects such as chorus, delays, EQ, etc., to the more specialized “meta devices”, which enable parameter routing between devices, and across tracks. Together, such a collection of fundamental aspects is called a “Modulation Set”, it forms the basic character of a sound and can be loaded and saved as a preset. each voice is processed independently), and can be defined for each of the fundamental instrument aspects: Volume, Pitch, Panning and Cutoff/Resonance. Modulation chains are processed polyphonically (i.e.

For example, the screenshot above displays the volume being controlled by the combination of two LFO devices with a gradual fade-out

In the modulation screen, you will always see a real-time preview of the resulting modulation envelope. In fact, there’s a whole section dedicated to working with just modulation envelopes, using an approach similar to how DSP effects are processed: combining basic building blocks together to form more complex envelopes…LFO, ADHSR, Key/Velocity tracker, Fader etc. As mentioned, you now have the potential to add envelopes on a per-sample basis.

Renoise commands