I understand how to get Triplet timing in the pattern editor using 12 LPB, that’s no problem.
What I’m not sure how to do is to get the native Delay device (and Multi-tap Delay device) to sync with triplet timing.
I’m assuming it has to do with the “offset” sliders when in Line-sync mode, no? But what value will sync to triplet timing?
thanks,
-M
Please correct me if I’m wrong but, I would say that its not actually possible to get accurate triplets in the multitap delay module yet (unless your using 12 lines per beat) because it can only sync to lines, which it translates to milliseconds…(4 lines, in other words, 1 beat = 545 ms (at 110BPM, 12TPL), so 545 / 3 = 181.6666666666666)…I’m guessing the closest possible is 181.67 (at 110BPM, 12TPL), which is pretty close though…I bet it is actually possible at some BPM values and not at others…it all depends on milliseconds to 2 decimal places…for example at 140 BPM, 4 lines = 429ms, so 429ms / 3 = 143ms…using 140BPM it can be accurate.
In my opinion, there must be a way to get really accurate triplets inside renoise delay modules, probably using the extreme resolution of 256ths of a line used in automation graphs…The repeater module already has those accurate triplet values.
So I’d say, its good to stick with 12 LPB to use the delay and multitap delay triplets.
When you calculate the triplets to milliseconds, be aware that although renoise displays paramter values rounded with pretty limited precision, it will actually accept (and save) them with much higher precision if you enter them as text by double clicking the current value text display. If it displays a rounded number, it will still internally work with the higher precision original you entered. This also seems valid for finetuning with the mouse/slider while holding ctrl.
You guys are thinking too much 
Some examples…
Triplets at 4 LPB:
Quintuplets at 12 LPB:
Simple 
You guys are thinking too much
- Enable Line Sync in the delay device.
- Choose a period of time measured in pattern lines.
- Choose how many intervals you want to fit into that period of time.
- Divide the number of pattern lines by the number of intervals.
- The value before the decimal place is the delay time in lines.
- The value after the decimal place x 100 is the offset in %.
.Some examples…
Triplets at 4 LPB:
- 4 / 3 = 1.33333…
- Delay time: 1 line.
- Offset: 33%
.Quintuplets at 12 LPB:
- 12 / 5 = 2.4
- Delay time: 2 lines.
- Offset: 40%
.Simple
Perfect, this is exactly what I was looking for! Cheers! 
Interesting, the offset is exactly +/- one line?
This, and the simple technique to get tuplets should be mentioned in the manual. It is not so very obvious. Normally in plugins you will rather find a triplet checkbox or dedicated options for each timing type.
Interesting, the offset is exactly +/- one line?
This, and the simple technique to get tuplets should be mentioned in the manual. It is not so very obvious. Normally in plugins you will rather find a triplet checkbox or dedicated options for each timing type.
Well no – it’s not just +/- one line, you also have to adjust the “offset” accordingly for each line, as he noted (e.g. 33% for 4 LPB)
It would be nice if the manual mentioned. I’ve seen other devices, though, that require this kind of setup – the Ableton native delays require maxing out the ‘offset’ control to 33.3% in order to get triplets. But yeah, most delay plugins just do the math for you and give you triplets as a menu selection along with dotted and straight. -shrug-. So long as it works, I’m happy!
-M
Interesting, the offset is exactly +/- one line?
Yep, that’s all it is.
In other words, these settings are all equivalent:
Ah, I see, I misunderstood OopslFly’s question, I thought he meant Triplet offset = exactly 1 line.
rather, he was confirming that the offset control in the delay device when set to 100% = exactly 1 line.
which is indeed interesting!
thanks for all the input / discussion guys, it’s definitely helping me to better understand the logic of renoise’s devices.
What about 4 lines, 100% offset?
2 lines?
What about 4 lines, 100% offset?
2 lines?
How’d you figure that?
100% offset = +1 line, so 4 lines + 100% offset = 5 lines…
unless I’m not understanding your question…I assumed you were referring to the examples dblue was giving two posts above.
Thanks, I get it now.
I have another question about multitap delay.
What is the difference between - feedback and + feedback?
In the manual it says:
L/R Feedback: Controls the amount of diminishing feedback for the “Left” and “Right” delay lines, roughly equating to how many ‘echoes’ are sounded. 0% means that the delay is sounded once, whereas 100% means the delay will keep sounding forever.
But I see I could do -100% as well.
you know how a delay feedback works? and what inverting a waveform means and by it switching phase by 180°? I assume the negative feedback will invert things before writing it back to the buffer. The amount of percentage is quasi just the gain of what is written to the buffer, in theory you could go above 100% even. Comb filter and chorus will work just like that, only with smaller delay times.
OK, so if I use the minus delay values on a sine wave, it will invert the wave, so that there will be troughs where there were previously peaks before adding the echoes?
not delay, you surely meant negative feedback. feedback is just the value that the current result will be multiplied with before it is written back into the delay buffer together with the current input. so if it is zero, there will be none, if it is 0.5 (or 50%) it will be half amplitude, and if it is -1.0 it will be flipped around the dc line.
Yes so it will flip the wave on each feedback stage. But peaks won’t become zero, rather a +1 peak will become -1, and the other way round, zero stays zero as it is the inversion center. Like if you go into the sample editor, mark some wave, and hit the “+/-” button. Or use the gainer set to invert both left and right.
The fun with feedback stages comes with the fact, that the feedback will be in the future read, flipped and fed back again, and thus be inverted again going back to the original polarity. You can get a grasp of the difference in timbre with the comb filter, if you set negative feedback the ringing will seem to sound an octave lower because of the effect. Or a flangers feedback, where negative feedback values will result in a different timbre and stronger cancellation than positive feedback.
sorry, yes I meant minus feedback. Thanks for explaining it.
it will flip the wave on each feedback stage
a +1 peak will become -1, and the other way round
different timbre, stronger cancellation than positive feedback.
