Most of my tracks are somewhere between 40-60 tracks, then those goes into 10-12 sub busses, then those go into 3-4 sub busses… which goes into the master. It gets really messy for me in Renoise (I have just recently been playing with the mixer, so I am really a big piece of noob still). Is it possible to color code the various channels somehow?
Also, lets say I have some vocals on track 1 and 2 - I then send these to a send. On the send I put up a reverb. How do I render just the reverb to a sample?
Edit: One more thing. Sometimes it is good to sidechain a channel - using the signal follower - by listening to a silent kick… meaning you cannot hear the kick, but the signal follower still receives the signal. How do I do this?
rendering the reverb: the send device has a ‘mute source’ option. mute the source for both channels, then render the send track to a sample.
silent kick: the signal follower responds to a signal. a silent kick has no signal, so the signal follower won’t do a thing. you could try using the key tracker with both the min/max sliders set to zero, which will give you input no matter what key you play. you could also try the velocity device, where you can just control stuff through the volume channel.
anyone correct me if i’m wrong! xerxes: good luck!
Right click in the main Mixer or Pattern Editor window and select Show Track Colours. This will give you a little coloured bar under the name. There have been various suggestions to make it bolder/more obvious but so far this is all you can do.
So you have other effects on the Track/Send but only want to render the Reverb? So are not rendering what you are hearing but something completely different? I don’t think you can. Either that or I don’t understand.
Turn down the Post Fader for the channel the Kick is in?
I get what he meant now! Couldn’t you also just turn the Dry Mix slider to 0% before Rendering? In fact if you have the Send Devices with Keep Source you could use the original Tracks output as Dry mix and Send output as Wet mix (or use a second Send for Dry mix of multiple sources if you wanted.)
You guys are all just damn awesome!!! Thank you sooooo much!! I love Renoise 10x more now because of you, and I have used it for uhm… a very long time. Sorry for asking what must be stupid questions, but I am not so good at following everything that goes on around here… so again - THANK YOU! This is bloody brilliant. The track colors are just perfect btw… subtle, yet VERY easy to distinguish. I hope that stays like that
Wooooohooo!
EDIT: I just wanted to add why the silent kick is sometimes nice… often people sidechain against the bassdrum they actually use… but there may be places where you do not want the kick to sound, but you want the bass or whatever you are sidechaning to still be sidechained… with a silent kick you can control this 100% throughout the entire song. Anyhow, this is surely obvious to you guys with the huge veiny brains
Awesome, thanks for the quick concept and example. Makes me want to revisit your Native Mid/Side Processing… really wanted to integrate that into my workflow.
[quote=“dblue, post:4, topic:33445”]
By taking advantage of phase cancellation, you can perfectly subtract your dry signal from the effected signal, leaving only the residual effects.
Here’s the basic concept:
Signal #1 contains both dry input + wet output (ie. track 1 + track 2 + send)
Signal #2 contains only the dry input (ie. track 1 + track 2)
Invert the phase of Signal #2
Mix Signal #1 and Signal #2 back together
The inverted portions of Signal #2 will cancel out against Signal #1, leaving only the residual effects remaining
Directly after your Signal Follower, simply add a Gainer and set its volume to -INF dB (also works if you lower the track’s post volume)
It can be nice for using a real breakbeat to give motion to a bassline or pad as well, where you might not want a break running through your music but you like the groove of it to use it in something else
^ these ‘silent kicks’ and so on can also be a nice alternative way to sequence a sound. for example, you could do short notes, silences determined by note offs, playing a melody with the keyboard. but you could also have a single long note, silences determined by your ‘shadow kick’ (hey sounds pretty ninja!), and melody done with pitch-commands. the resulting melody and silences will sound pretty much the same, but the whole feel is different and probably some cool artifacts and stuff as well. on top of that, it is always good to tread off the beaten path.
(also works if you lower the track’s post volume)
