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MBC #11

 

GLOBAL WARMING

 

 

VOTING

 

 

- Open vote : anyone - also non-contestants can vote for their favourite track. 1 vote / person

 

- Write a review about every entered track to gain 3 points

 

 

PRICE

 

- Winner will receive an artistically produced music video made by Komu and his Konnoisseurs

 

 

DEADLINE

 

13th, Midnight +UTC2h

 

 

SUBMISSIONS

 

 

Download:

VOTEPACK

(sodiufas track is not included in the .rar file, so download it separately)

 

TRACKS:

 

1:

2:

3:

4:

5:

6:

7:

8:

9:

10:

11:

 

THIS ALSO: 12: https://instaud.io/private/c5f83027656dcb594fdc2f2add3bcb30bdd39a19

 

13:

14:

15:

16:

17:

18:

 

 

 

 

 

 

 

 

Mutant Breaks history:

http://www.trotch.com/mbc/

Steps to recreate:

1) Put an effect on a track

2) Turn effect off

3) Put a 1001 command in the middle of a pattern

4) Put a 1000 somewhere after it

5) Set the pattern to loop

6) Press play

 

What I expected to happen: Effect stays off until the 1001 where it turns on, turns off at the 1000, stays off until it loops round to the 1001 again.

 

What actually happens: Effect stays off until the 1001 where it turns on, turns off at the 1000, then turns itself on again when it loops to line 00.

 

Not sure if this is a bug or intended behaviour that I'm just not understanding.

On chorus especially it would make so much sense to have a tougher filter for pure utility. The current highpass are kinda wimpy when it comes to keeping stereo out of my bass. 

 

Is there a was to do this or a reason it can't be implemented? 

 

To be fair, having any chorus filter at all makes chorus way more viable for bass sounds, so I'm thankful for that. But Chebyshev filter (best filter   ) would take the idea all the way

Is there a sub forum for memes related to Renoise? I kinda wanna make some but I don't know where I'd post lol

Steps to reproduce:

 

1. Download and install Rob Papen RAW synth demo (VST/AU 64 bit): https://www.robpapen.com/download/RAW_Demo.dmg |  https://www.robpapen.com/raw-demo.html

 

2. Open Renoise 3.11 64bit (plugin bridge disabled) on macos 10.13 or later

 

3. Try to open the VST version's GUI. It should be empty.

 

4. Open the VST plugins GUI in another DAW like Bitwig or S1, it should be normal

 

 

Notes:

- I think this already happens since 10.12 and Renoise only

- I remember the AU version did work, at least in 10.12

 

 

Hi,

Can anyone confirm that current Renoise version is compatible with latest MacOS version (10.14, Mojave)?

Regards,

Adam

I think there hasn't been made a topic yet where fellow Renoisers can tell what they're listening at the moment.

Give the usual info; artist, title and album.

I just listened to the latest album of wAgAwAgA 'Jinjanoon Bus'. I loved it, such an amazing sound that guy creates. Beeg Spenda track was a brilliant finish.

Thanks to us scripters now being able to select the automation parameters in our scripts    I have been upgrading a tool that I`ve had on the backburner:
Automation Single Slider:
 
On tools site:

http://www.renoise.com/tools/automation-single-slider 


 


 
 

 

Menu entries : 
 
Tools menu:Ledger`s scripts:   Automation Single Slider
Automation List:                       Automation Single Slider
AutomationLane:                      Automation Single Slider
---------------------------------------------------------------
 
MIDI mapping:
 
Large Rotary is MIDI mappable to a rotary/ slider with 0-127 range.  Search "rotary" in midi assignments: (Ctrl + M in renoise will open the Mapping selector)
 
----------------------------------------------------------------
 
Renoise shortcuts:
 
Open the tool gui with:
~`AUS` Automation Single Slider"
 
Add a new automation device with:
~`AUS` Add Inst. Auto Device To Track"

 

Add a renoise Instrument Automation Device to the current track (same as [+] button on gui):

~`AUS` Add Inst. Auto Device To Track"

 

Cycle through already automated parameters with (same as lower popup):

They will open the automation lane if it isn`t already.  Unlike the tools gui selection method, you don`t have to choose the next device manually, these shortcuts just take you up and down the renoise automations list.
`~AUS` Next Automated Parameter
`~AUS` Previous Automated Parameter

 

When in the automation editor, duplicate the selection with:
`~AUS` Duplicate Automation Selection"

 
----------------------------------------------------------------
 
It should be fairly straightforward to use.  It syncs the selected automation parameter with the selected device in renoise.  Both can be chosen from the GUI.  You get a second parameter dropdown showing you your already automated parameters, selectable too.

 

Note:

Pattern Follow needs to be enabled in renoise for the tool to work as expected i.e. drawing the envelope as you go along, otherwise you will be just changing the value of the current line.

 

----------------------------------------------------------------
 

GUI OVERVIEW:

 

 
 

[+] button adds an `Instrument Automation Device` to the current track in renoise  (or selects an already present one).
 
[Selected DSP Device] Choose DSP device to automate, it is synced with selected device in renoise.

 

En. Checkbox  Enable/ bypass selected device.

 

EXT. Ed. Opens Gui of plugin if it has one.

 

 
[G] button to grab a moved slider of a vst effect or instrument (instruments need renoise`s native *Inst. Automation Device to be loaded first, this can be achieved simply via the [+] button)
 
1) Select a VSTfx and the G button appears along side the Ext. Editor button
2) Press it with the song not playing* and it will turn red.  If the VST GUI is not already open it will open too.
3) Move the gui element in the vst that you want selected.
The parameter should now be selected in the "Selected Param:" popup of the tool, the G button will turn green for a short while to confirm it worked, then grey.
 
If you want to select a different parameter then repeat 2) and 3) 
 
*If the song is playing the button is disabled, as the feature would not work properly if the device is already automated.  When a plugin is already automated the parameters are moving when the song plays and the grab function would just select the first one of those moving parameters it comes across. 

 

----------------

 

[ ~ parameter name ~  ]  ` ~`  symbols added in popup lists mean that a parameter is automated.  These only appear in the Automated parameter list once more than one parameter is automated as visual freedback that there are more entries in that popup to select.
 
[X] button --shows green when parameter is automated (also pattern automation),
press to delete current pattern graph-automation for selected parameter,
press again to delete for whole track
if yellow, press to set parameter to its default value

Lock Button  means slider will set whole pattern automation to single value --still  controlled by the rotary

 

Checkbox (next to [view] button) means the view will change automatically to the automation lane when rotary is used, switch off if want to control the view manually (state only remembered per session but will be pref in future) 
 

Large rotary starts recording automation as soon as used

 

When enabled the the Latch mode button has two colours; red and orange.  When orange it means it is armed so the next time you use the large rotary the overdubbing will occur.  When the overdubbing is occuring it remains red.  It automatically goes back to orange (armed) when the transport stops or you change parameters.  You can also toggle it off again by re-pressing the button.
 
Bottom Slider  is just a readout, interacting with it will be fruitless!

 

-----------------------------------------------------------------------------------
 
--AVOID HAVING THE "ONLY" AUTOMATED BUTTON IN THE PARAMETER LIST ON while the tool is open, it will cause problems. Also using the search feature in that list can have a similar effect.  The tool gui will go blank to warn you in these situations that no parameter could be selected.

 
 
note: thanks to danoise for a snippet pointing me in the direction of rawequal() function and to taktik for implementing the new selection stuff!   
 
Updates:
Spoiler
Latest Version 0.82



-Added a [+] button that adds an "Instrument Automation Device" if one is not present on the track. If one is already present will just select that one, ready for automating.



---------------------------------------------------------------------------------------------------------------------

version 0.8

Shortcuts now prefixed with `AUS` so will need updating if already set

`AUS` Automation Single Slider",

(NEW shortcut) --adds an instrument automation device to the current track
`AUS` Add Inst. Auto Device To Track"


(NEW) Now the [G] (grab) button works on Plugin (VSTi etc.) instruments: (As with fx-grab renoise needs to be stopped to use this feature)

Simply add your `Instr. automation device` to your track and with it selected and **THE CORRECT TARGET INSTRUMENT SELECTED IN THE INSTRUMENT LIST, press the [g] button. It will turn red, and open the selected instrument gui. Move the parameter you want to grab and it will be selected in the automation list and shown as selected in the tool.

The `Instr. automation device` only has about 35 parameters that can be active, so if the newly selected parameter is not already included, then the first unautomated parameter popup will be changed to accomodate it.

**As the API/ script can`t see which is the target instrument in the `Instr. automation device` you will need to make sure that the selected instrument in the renoise instrument list (above the renoise browser) is the correct one. If for some reason this goes wrong a warning will fire with some explaination to try again.






v0.82
-Added a [+] button that selects the last Instrument Automation Device present on the track.  If none are present then a new one is added
 
v0.8
-[G] grab button works for instruments aswell as fx
-New shortcut to load an *Inst. Automation device, to speed up workflow-
-bug fixes, code tidying
 
v0.78
--Bug gone on selecting mixer device error
--NEW parameter readout underneath minislider
 
v0.77 --gui more efficient when updating parameters, update timer more efficient, general small bugs squashed
 
v0.74 --bug gone where timer wouldn`t be released if top right [x] was used to exit the tool
 
v0.73 --left an active print in the tool so minor update removing it

v0.72
--menu entry for tool added
--large rotary midi mappable
--[G] Grab button added to select Plugin fx parameters via their gui

Hi Renoisers,

 

I've recently started recording interviews with all sorts of music industry folk, hoping to span a broad range of subjects and people working within the musical world. Please give me  shout if you know anyone I can speak to.

 

First up is bass godess Cheryl Pinero:

 

 

Each episode is out at the beginning of the month.

 

I'll keep posting back here - soon to be available on stitcher / itunes and more! 

 

Regards,

 

midierror 

 

 

 

 

Since High Sierra 10.13.2, AU settings (here ambience AU freeware), won't remember settings anymore. If you load a song, the plugin will always have the default settings. Strangely after reloading (and changing settings), it seems to be ok, again. Also loading of some plugins now introduces a looooong pause, where no hdd action or cpu action appear.

Could be related to Apple's "new" way of managing AUs? There seems to be again a new system service, responsible for validating AUs?

 

 

EDIT: ABOVE IS OUTDATED PLEASE READ BELOW

Title says it all.

 

Dunno if this has been done before but seeing as how there's a "What You Listening To ATM?" thread I thought it'd be cool to get a "What You Watching ATM?" going on to.

 

I'll get the ball rolling. Found this documentary this evening randomly on youtube and it's really fucking good. It's about homeless dudes collecting beer cans for a living and racing shopping carts down the hills of North Vancouver, not your average documentary but it's well shot and paced. Definitely worth a watch.

 

Hi all,

 

I've upgraded to MacOS Mojave and Renoise stopped working with the Steinberg UR22mkII audio interface. The play button doesn't work and I can't hear any audio (output or input). If I change the sound card to the internal audio in the preferences it works well, but not with the interface.

 

I checked the Steinberg site and the interface is supposed to be supported by the new OS. In fact, it's working with Cubase, but not with Renoise. It's a shame because Renoise is my favorite piece of code for electronic music and this audio interface has always served me well.

 

Do you know any solution or workaround?

 

Cheers,

André

I finished my links between renoise and my MCU Pro this week.

 

Tough  i will share it if someone need...

If you are used of duplex you should know what to do with those files.

I use the actual duplex version ( not the beta), and i needed to modify 2 files in the Duplex code. Those files are under "core modifs" folder.

 

I couldn't make work the displays of the MCU for now. I'll keep invastigating for that, but i'm kind of pessimistic about the result.

 

Anyway this layout give me good controls during masterisation and live sessions too.

Hi

 

I'm using ROLI blocks… and basically I can't record any of the gestures within the sequencer. 

 

SO unless there's a way to record complex midi messages… I figured I could maybe record my VST as I would record an external instrument. 

Is there internal routing options in renoise ? (NOT RENDERING TO SAMPLES as gestures would be useless)

 

 

I could easily do so with a highend soundcard with internal routing option… but I don't own such a device

 

An idea ?

Hi

I've recenlty bought an Akai Mini MK2 with Reason 10 lite inside... but Renoise 3.1.1 (64bit) can't recognize it on Rewire...

Please, can you help me?

 

Regards,

Fabrizio

am i the only thinking ''why renoise doesn't come  with a native multi-band compression device''

 

for processing in the mixer tracks..

 

 

do you guys use it at all....it seems that renoise users dont multiband compress .

Redhoot Oboemonger has just put out his second release on iTunes and Spotify. Not only that, but he has shared all 7 tracks from the album as Renoise playthroughs on Youtube (awesome!), and is also an accomplished visual artist.

Granularity (video edit) from redhoot on Vimeo.

Hello there Redhoot. Can you tell us about that artist name of yours?

"Redhoot Oboemonger", I've used a lot of different names over the years but for some reason this one stuck with me for the last couple of years.

And when did you start producing music?

I have an older brother who got into the demoscene in the early 90s late 80s, he got me hooked on ScreamTracker2 (the text-mode one) then I was around 9-10. I always wanted to play with instruments and synths but as a kid you can't really afford anything. ScreamTracker3 came along just around the time my paper-boy job bought me my first proper soundcard; The Advanced Gravis Ultrasound. Then FT2. BUZZ and Renoise, These days it's mostly Renoise for the main work, but with Reaktor, SuperCollider and PureData thrown into the mix to help out.

Can you tell us how you approach a new song?
Do you have an idea before you start, or do you experiment until something interesting catches your attention?

I love building procedural and fractal systems, for both my visual arts and music. Then find moments, sounds or sequences in them that I can develop into a track. Sometimes it would start with just the samples that inspires me, or other times its coming from some of my generative sequencers I've built that I feed Renoise. I've built some really simple LUA scripts for Renoise to help me with doing rapid prototyping if ideas based on simple probability triggering. Phrases have been really cool in this regard to abstract some of these workflows.

But in the end, I think how I start a track has the same answer as how do you finish a track. Its mostly just happy accidents that I like and then take them to completion. I have about 60+ hours of music kicking around that never got finished. Just by doing volume SOMETHING has to be decent right ?

Starting out with trackers at such an early age was probably an advantage. So what do you think of the theory that we settle in our musical taste in the early teenage years? Or, to put it differently, which artists have you discovered since those early years that inspired you to rethink what music is, or could be?

There weren't really any alternatives to trackers when it came to music software for us on 286/386 PCs. My brother got a hold of a bunch of floppies with all these unnamed great Amiga mods on them, and it made me obsess over the idea of using the computer to make music. The idea that I had not just the song; but the entire formula behind it right here in my bedroom was amazing to me. I would definitely say that post-pop 10 year old me suddenly got very heavily influenced by the Amiga mods. Travolta/Spaceballs, Zodiak/Cascada, Purplemotion/FC were all on my walkman at some point.

Later in the 90s as I got more and more esoteric interest in how music and sound is made; I have to give credit to Lassi Nikko (DUNE/Brothomstates) for opening up my eyes to how far you can take trackers, mixing musical styles and sound design through minimalism. Other artists at the time I were discovering like Aphex Twin and Squarepusher (this was around 95?-97?) were also pivotal, but Lassi made his mods available for anyone to look at. And seeing the inner workings of his songs made it even more enticing.

Trackers in general have a tendency to not focus on the graphics representation of sound; which in turn makes you focus even harder on the sounds and music. It abstracts the compositions into some kind of advanced looking spreadsheet where you're not distracted by moving bars, sample waveforms, instrumental representation through things like piano rolls and frequency analyzers. The notes, the composition and structure is at the center where everything is a first class citizen. This is the same reason why I love SuperCollider and other visual programing tools for creating sound, you don't sit in front of your screen and look at the sound, you just sit and listen.

I appreciate and enjoy a lot of different music, from jazz to pop to weird noise performances. But when it comes to making music myself I just like to make something I haven't heard or made before.

Your sound is very complex and layered. Do you use a lot of processing on the sounds? The videos you've shared seems to reveal that source samples are very "hot".

I love the Renoise sampler for how much you can mangle a sound, but I also generate a lot of my sounds through my own granular samplers I've built in Reaktor and SuperCollider, then tweak and finess them in Renoise for use in the compositions. I have a pretty terrible sample library, but if you have some minor DSP skills you can turn that limited data-set into an infinite resource. And by that design; some of the sounds come out as "happy accidents". Sometimes that means during recording the sound might be a bit messed up/hot/wrong phases etc. But If I like it I like it and just use it regardless. In the context of the Renoise where I make the actual tracks the sounds usually works for me.

OK, it's sort of a tradition that these interviews also turn to Renoise, and what you'd like to see from it in the future. So, if you could name just one or two features, what would that (they) be?

My unrealistic wish would be to look at modular frameworks for building DSP instruments, samplers and effects, and would love to see a nodal approach to not just routing but low level access to sound manipulation. Its very large undertaking to develop something like this so I've got my fetish satisfied elsewhere for the time being. But there's something to be said about having a framework that is almost entirely user driven from a content point of view. I would argue that Reaktor gets is money worth from its user content alone, despite of the lackluster software updates. This has given some software a very long lifespan.

On a more realistic level, 3.0 brought so many new things that I'm still overwhelmed when it comes to exploring phrases and the new instrument possibilities. It’s definitely made tracking a whole lot faster. That said; sample handling is at the heart of Renoise, so I'd love to see some more advanced options for pitch, time and other granular (prehehe) DSP functions. I know proper pitch and time warping are very complex procedures if you're going for quality so as far as feature requests I'd be happy to just see envelopes smaller than 25ms so I can roll out my own crappy resynthesis phrases for now (ed: this just settled the headline)

That said, I think I could spend half an eternity just exploring the possibilities with the current features.

You mentioned having quite a lot of music in the redhoot vault. Are we going to have to wait another decade for your third album to arrive?

I’m hoping to do more frequent but smaller releases. I do a lot of visuals (https://www.instagram.com/redhoot_/ - NSFW) that tie into the music, so by doing smaller EPs there's room for even more experimentation in various other formats.

Redhoot Oboemonger’s new album is out now

• On iTunes
• On Spotify

The whole album as Renoise playthroughs Category: Artists

The eclectic music competition known as Mutant Breaks (or MBC) has returned for the 10th time.

The competition is already in full swing, with a dozen entries and counting.
Join the challenge to vote, win prizes, or just for lulz. You decide!!

Deadline is December 10th

Forum link with rules, entries, etc.

Category: Competitions

We're happy to announce that another round of beta testing has passed. Renoise 3.1 is ready for production.

What's new?

In case you missed it the first time around, new features in 3.1 include:

• Support for VST and AU MIDI generators: This means that you can use specialized tools such as harmonizers, note matrices or arpeggiators - things that can “drive” other instruments in Renoise.
• Improvements to the sound engine: Completely new, rewritten filter section as well as optional oversampling and bandlimiting on sample playback. Various improvements to Renoise's native DSP devices.
• More love for Phrases: Phrases have become a lot more powerful and streamlined too - when working within the phrase editor, you could describe it as “feeling more like the pattern editor”. And when working in the pattern editor, you have more options for controlling phrases.
• Presets everywhere. And now, libraries too: Renoise 3.1 includes a more powerful preset system. You can now store/recall samples and keyzones as presets too, and the whole preset browsing experience has been improved.

... and much more. A detailed description of what's new can be found on the Renoise 3.1 launch page.

Category: Releases

Mutant Breaks; the exceptionally well disorganised annual Renoise competition has returned!! The rules are simple – submit a Renoise track between 3-7 minutes long, based on this year’s theme.

You can win a programmable force field, sample packs and more...

Link to the forum topic

Category: Competitions