I think he means that he want to alter these kind of bpm values through the Renoise effect columns, but the effect commands aren’t that sophisticated unfortunately.
You should be able to use this type precision with OSC and Lua scripting though.
Specially for calculating, you are better off by using lua scripting.
well, i assumed it was more than once decimal, i wrote in 223.08, 223.1 was shown, but when i edited the value it showed me 223.08.
But i guess taktik or some other developer might have a more definitive answer.
This lets you synchronise a sample to an exact number of pattern rows, so that it will always stay perfectly locked to the song tempo. Depending on what you’re trying to do, this may be a more sensible option in the long run.
If you have some sample loops with a weird tempo like 120.021 BPM, for example, then it might be better just to Sync them and let Renoise warp them to fit its own tempo. In other words, it’s probably more desirable/sensible to work at a “standard” tempo like 120 BPM instead.
It really depends on what you’re doing though. You may not even be working with loops or standard forms of music at all, for example. Perhaps you are actually creating soundscapes or ambient music for art/performance pieces, or something interesting that needs to evolve over time in a very specific and exact way?
Are you working on something that must be set to a very precise tempo (for whatever reason), or are you simply trying to synchronise some existing loops?
Typically when people ask about how to finetune the song tempo to exact values, they usually want to do one of two things:
1: They want to synchronise their breakbeat loop or something similar so it precisely matches the song tempo, and they simply don’t know that the sample Sync function exists.
2: They want to use Renoise as a more creative sound generator, to create/render musically tuned sounds and effects, and because of this they need to run at very precise tempos or frequencies.
I immediately started to think you might fall into the 2nd category, simply because you listed the frequency of a Middle C note as one of your example tempos, and the frequency of an A#3 note as the other example.
You already said that this was just a coincidence, which I was a bit surprised by to be honest, but maybe you’re just looking to sync your loops after all
2 is pretty close to what I’m planning to do. I noticed while working at 220 bpm that everything seemed to fall into Amin. Especially when something of another note was 09ed to oblivion, everything seems to have a hum of A. So I wanted to try this at all the other note frequencies and see what happens.
Yes… as you start doing a lot of extreme manipulations with things like sample offset and especially retrigger, at the faster speeds you begin wandering into the territory of grain-like synthesis. You can definitely do a lot of interesting and weird stuff here.