![]() Some people have dreamed of the day when you could attach a note-sequence to an instrument, and have the instrument play this melody in any pitch and tempo by a simple key press. However, when playing and recording the instrument, the mono option is applied to the input. So, having Mono enabled for an instrument is not to be confused with how the mono feature might work on a soft-synth, you can still write chords into the pattern editor and all notes will play simultaneously. Otherwise, it’s essentially the same feature: it determines how the instrument will respond when you press multiple keys while recording. The new Mono option replaces the global Chord Mode, and is defined per instrument. The Mute Group feature will work with live playback of notes, but also as notes are manually entered into a pattern/phrase In Renoise, this is now easily achieved by assigning the open and closed sample to the same mute group. ![]() One of the most obvious uses for such a feature is when recording a drum kit with open and closed hihats – if you are aiming for a realistic sound, you would never want the open and closed hihat to play at the same time. Mute Groups is a well-known feature from MPC-style samplers. When you are recording notes, the currently selected scale is applied to those notes before they are written into the pattern. Common scales such as Harmonic Minor, as well as more exotic scales are available from a list, and applies to both the Sampler, Plugin and MIDI parts of an instrument. Harmonic Scales: Furthermore, the instrument will also allow you to make use of harmonic scales. This, along with the ability to link a certain OSC/MIDI port to your instrument, means that you can now achieve keyboard splits within Renoise itself (no more need to fiddle around with MIDI loopback devices). MIDI Note Range: Also, the MIDI input for an instrument can now define a lower and upper note-range. 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. ![]()
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