Obviously I’m familiar with what you’re talking about, but the physics of sound itself doesn’t really apply to what is being said here. I was just trying to make a simple point about the note triggering behaviour, and how NNAs don’t really exist in the real world. It’s not the piano key string or the cymbal itself that’s generating the reverb, is it? It’s just an interesting phenomena that occurs from sound bouncing off surfaces in the room/space you’re playing in, and in some cases within the body of the instrument iself. This is really beside the point, though.
But of course I understood what you were getting at…
I totally agree, but let me try to explain a bit more.
If we’re talking about playing sounds through an external sampler (or VSTi sampler, or drum module, or whatever the case may be), then it’s the responsibility of the sampler itself to handle any special characteristics correctly. AndyRx7’s original post mentions that he’s using a Roland VDrum kit and a hardware sampler, which is why I’m even bringing this up at all.
Renoise’s only job here should be to deliver note-ons and note-offs to the sampler, and then the sampler should decide how to interpet those events and generate sound accordingly. It’s mainly up to the user to structure the notes in a way that achieves the desired result. If you have a sound with a reverb tail that should be played polyphonically to avoid the reverb tails being cut off prematurely, then it’s the sampler’s job to implement NNA type behaviour and play the sound correctly.
It’s not Renoise’s job to handle NNA type behaviour for the MIDI notes themselves, or to attempt to deliver specially crafted sequences of note-ons without the corresponding note-offs. Doing so would probably only result in buggy behaviour and stuck notes. So… when dealing with MIDI notes sent to external samplers, NNA for MIDI notes is not the answer in my opinion.
Now… to the issue of actually playing samples directly in Renoise, which is where this gets a bit more interesting…
When playing samples directly in Renoise, then Renoise obviously is the sampler. In this scenario, then it’s entirely Renoise’s job to handle the playback of those samples correctly, and that’s why he have those NNA actions in the first place. This is where I start to agree with some of what has been said. It’s clear that 12 note columns and 6 notes polyphony per column (max 72 notes) is not going to be enough for everyone. There are limits to Renoise’s internal sampler, and I fully agree that some of those limits could be improved.
There could also be some improvements made to how Renoise handles MIDI notes that are being recorded. There could potentially be a ‘drum kit mode’ or ‘piano roll mode’, for example, which dynamically separates each note into its own dedicated note column as you play. When individual drum hits are separated into their own columns, then 12 sounds at once with 6 note polyphony for each sound is actually pretty decent (but of course, more would be better). It seems like a tool could be made to handle this note recording/sorting behaviour, just to test things out and see if it feels more satisfying this way, I dunno.
Edit: I personally only use one sound per track in Renoise anyway, so the 12x6 thing is not a huge problem for me, but in general I think it would be nice if we had access to more note columns. It would great be if stuff like this was effectively only limited by your CPU power, rather than some arbitrary value. At the same time, I understand the need for some limits, but a value higher than 12 certainly seems doable and desirable here.