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Hi, the automation stuff has always been my big setback in Renoise. I’ve done a lot of reading and have been experimenting with send tracks. As I want to be able to use the same effect in different ways multiple times in a track (or sometimes, track group). So now, I’d like some input concerning best practices.

This example is an oversimplification, but would be sufficient to have a better understanding of what to do. I think I’d prefer using the pattern editor for automations, as it’s likely quicker.
Let’s say I want to apply D16 Decimort 2 and Devastor to entire drums section (for distortion/bitcrush).

And Valhalla Delay to a couple of tracks (individually) on the “Atmos” section.

Obviously, the sends would be placed on the aforementioned tracks/track groups and sent to the send tracks. Should the FX be placed in the send tracks? And automations are done in the sends section? In general, what do you think is the most efficient method of having such automations?

!

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I’ve been interested in trying Fircomp 2 (fircomp 2 - Jon V Audio), but it’s VST3 only and does not show up at all as a plugin in Renoise 3.3.2 (Windows 10). There is no VST2 version of the plugin. Apparently the AU version does work fine on macOS at least.

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I used to love the sound of this, is it still possible to use in “modern” Renoise?

Thanks!

Chris

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How I loooooooooooove this little sweet fellow! It ads such funky swing that it’s almost comical how the song sounds completely different when turning it off.

<3

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Global variables that are defined in formula, are they treated statically or dynamically? Want to create a LFO that runs independent from Renoise BPM.

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Just a catchy little track I threw together. After spending a couple of months on the Redeemer EP, I wanted to both experiment with a different genre and get something finished more quickly, and this was the end result. It’s hardly ground-breaking stuff but I enjoy it.

Provided to YouTube by IIP-DDS Turn It · depthbuffer Turn It ℗ Philip Allison Released on: 2021-04-21 Producer: Philip Allison Music Publisher: Philip ...

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Would be nice if you could left-click and drag over multiple track scopes and have their on/off states reversed.

The right click on a group to have all it’s tracks turned on works beautifully but it does happen often I want all the busses turned on too and maybe more tracks/groups.

Is it possible to right click multiple groups with a key combination?

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Heyo,

Been using Renoise for almost 10 years now :O. I finally released my first proper album and all the tracks were made entirely in Renoise. It’s an industrial techno concept album about a sentient entity called The Void going throughout the universe and trying to render it all into nothingness. I present to you The Void Destroys The Universe by I Am Not:

THE VOID DESTROYS THE UNIVERSE | I Am Not

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Has anyone tried to do the rear buss compression emulation in Renoise. Does Renoise allow users to compress the left and right differently? I would imagine this would be as easy as just running the sounds through 2 different sends.

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The question is in the title : 200% is too much, 175% is not enough… is there a file where I can set 180 or 185% ?

Thanks !

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If you scan the vst3 versions of waves thru waveshell4 (might be older) and later remove waveshell4, so the plugins now load thru waveshell5, Renoise will not remember the vst scan results.

Steps to reproduce:

1. Install waves 10 (waveshell4 should be in vst3 dir)
2. Do a scan in renoise, close Renoise
3. Install waves 11 (waveshell 1,2,3 and 5 should be additionally in vst3 dir)
4. Do a scan in renoise, close Renoise
5. Remove waveshell4 (it’s filestamp is older than the other four waveshells). Start renoise
6. Try to load VST3 GTR AMP (stereo). It will fail.
7. Now do a vst scan. Try again to load said plugin. It will load fine.
8. Now close renoise. Reopen it.
9. Again try to load the plugin. Again it will fail. Do another scan, and it will load again.

Hope that makes it clear. Maybe this could be the cause for the other waves problems, too (rotated graphics), so somehow the plugins aren’t loaded thru the most recent waveshell or so? No idea here.

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On macos, if you switch Renoise app and another app, e.g. a text editor forth and back, and copy-paste devices, very often, maybe each 3rd attempt, the copied contents from Renoise are not updated and it still contains the copy buffer of the previous forth-and-back-switching. So sometimes, even if you selected the device and selected “copy” thru the context menu, it still does not copy the contents.

This happens in combination with the app focus switching. It also happens, if you open two Renoises side-by-side, or Renoise and a text editor. I still couldn’t figure out some always repeatable steps-to-reproduce here, so please simply do:

1. Load a complex song with lot of VSTs (macos)
2. Open a text editor, i.e. VSCode
3. Copy a device in Renoise, paste it to VSCode
4. Repeat step 3 multiple times, also copy different devices all the time

I know I already posted this problem multiple times, eons ago. Still I would like to re-remind you here… Was it not fixed, because

A) You couldn’t reproduce
B) Priority is too low
C) You forgot about it

?

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I can’t seem to find a convenient way of precisely adjusting a LFO’s frequency in piece wise matters. Figure since I got some coding background I create a small formula DSP that allows you to do piece/stepper LFO slider for Even and Triplet LPBs.

Static LFO Frequency Selector.xrdp (1.2 KB)

A = Freq Selector
B = Trip or Even (0 or 1)

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R3.3.2 W10 x64
I don’t know if this problem is generalized for all VST3s or is only caused by a single VST3.
I have tested it with Helm VST3 and Helm VSTi x64 v0.9.0, and the problem is only with VST3.

If the plugin has many presets, for example up to 255, when you are browsing a preset somewhat higher than half, say> 140, the forward or backward selection generates a jump, (instead of +1 it generates +2 ??? and in instead of -1 it seems to generate -1+1 ???). It happens by clicking and also with the wheel. It should only be +1 and -1.

You can try it from here:

Load Helm VST3 with at least 255 presets. Move through presets throughout the range. You will see that when browsing the presets> 140 approximately, the selection does not work correctly.

This does not happen with VSTi x64. Either there is a problem with the Helm VST3 or it is a general problem of all VST3s.

Any user who has other VST3s with a lot of presets could try this to see if it is a general problem?

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I’ve noticed a weird behavior with renoise :
I record a guitar and my sound card indicates I peak at around -5dB. Great.

Then I play back the sample (all sample levels at the default 0dB settings) and the same recording through the same VU meters of the same soundcard now peak at around -10dB

It’s annoying because I do reamping and 5dB makes a world of difference and I don’t want to have to reajust every sample by hand.

Is there a setting I’m missing somewhere ?

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Hi,

yesterday I found out that the bus compressor is not interpolated at all for the parameters “ratio” and “makeup” at least. Maybe even more.

Here is an example xrns:
interpolation.xrns (76.7 KB)

Steps to reproduce:

• Play, disable the bus compressor on the very last send track (within the doofer). You should hear almost no aliasing. Also watch the analyzer (using slope factor +4.8dB)
• Enable the bus compressor. You should see and hear a lot of aliasing.
• Disable the target “makeup” in the hydra device. The aliasing should be a lot quieter, still audible (coming now from “ratio” slider movements)
• Enable the gainer target (3rd slot). There should not be any added aliasing
• Disable the “ratio” target. Aliasing should be gone.

Can you add interpolation to makeup and ratio? Since this is about very precise dynamics, maybe an interpolation even faster than the gainer device was a good idea… Is this possible?

If you do this, I would love to test your results, since I am now deep in this topic, so I can quickly say if it lags too much or not, etc.

Thanks.

P.S. I guess the meta signals are meant to be not interpolated in the source already, due timed intervalls? But maybe it still could be interpolated already at the source output? Or would it then clash with other interpolations on the target side (e.g. vst plugin).

P.S.2. At least it would not hurt if all the makeup / gains in all devices were interpolated.

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Hi,

I really enjoy using Renoise and Redux. I especially like the pattern editor (the main tracker) portion of renoise. However, I prefer to use Ableton Live session view to compose tracks and record external instruments.

With rewire support being deprecated (and even with rewire, windows DAWs don’t seem to support midi out from rewire slaves to rewire hosts) I’d like to suggest another product, a VST, that implements just the pattern editor portion of Renoise.

In my ideal scenario, I would use this pattern editor to contain a separate pattern within each ableton/bitwig clip, and basically replace the piano roll within those traditional daw applications with the renoise tracker interface. This is very different from Redux, as I do not want a transposed ‘phrase’ or apreggiator to play on every note-on, just the regular pattern. I also would like to tie this pattern with other instruments (including Ableton & Bitwig internal instruments, as well as M4L and Bitwig’s GRID). I would prefer not to have the instrument on a separate track with the tracker pattern on it’s own midi track. That makes the clip/session view too complex. I would like my tracks to show something like [new tracker vst → instrument → audio effect].

I think this potential implementation would be successful both in pure sales as well as vectoring folks to take a greater interest in Renoise/Redux. I wouldn’t mind paying a bit of a premium over Renoise/Redux to achieve this workflow.

Thanks.

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If the sidechain send device disabled, the affected device(s) now will neither receive audio from the sidechain nor the prior device.

The receiving device should disable sidechain input, as soon as the sender was disabled.

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If I use the LFO as a transfer function, the incoming signal’s resolution seems to be heavily reduced in the output signal, like a conversion from 0-127.f to integer or so… Why is that?

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Hey Y’all

My names Chuck and I made a Breakcore EP 100% in Renoise, that i released last May.

Here’s the first track off of it (If you like it theres links to the project file / other songs etc. in youtube description)

Similarly I have started doing weekly Renoise streams on my twitch channel (twitch.tv/chuckb) to open the floor to Q&A about my composition / production process.

Would love to chat with you all about writing weird / new music with renoise.

Cheers

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