and also, yesh, sunvox timeline view is great. patterns can just be picked up and dragged around to any position you want…later on there will be samples directly into timeline view…the whole design of sunvox is a beautiful, well thought out thing
sunvox screenshot showing timeline view, modular synth routing view, synth parameters and pattern editor
a portable sunvox setup
little gamepark trackers pattern sequencer (in a way similar to renoise pattern matrix)
In regard to Hex vs. Decimal, Hex doesn’t stop at FF so you don’t really need to change it totally.
It would also probably be better from a backwards-compatibility perspective or no conversion need to be made.
Though it still probably will require a lot since I’m guessing many places depend on it being only 2 characters long.
On the other hand this discussion is kind of moot if there isn’t any planned work/update to use the ideas.
A tracker is a tracker and trackers use hex. Thats traditional. Thats the convention.
Im just saying, if rernoise and sunvox are not the last of the trackers, and there is to be made a future tracker-like software, the MPC1000 sequencing system is pretty much a tracker without hex…the tracks would be wider than in a tracker because hex saves space, but does it matter?
It is not only MPC1000 that uses the whole ‘96 pulses/ticks per quarter note’ numeric sequencer, also other comparitively old hardware sampler sequencers such as boss SP505 (see below). Its a good system because you dont need to know hex or count out ticks across lines to do triplets. but if you load up renoise at 8LPB its basically the same system but with hex and lines (96 ticks per quarter note/beat)…
renoise already broke tracker convention with the pattern effect commands, because they use letters other than the hex letters
Does a hamer need to evolve? Renosie is close to perfection as it is hell i was more than happy with 2.8 - 3.1 is a peace of art. only thing id add is sunvox as a dedicated Tab
This thing about hex, besides saving room, is because it is base16 it is more music friendly when it comes to 4/4 or other standardized timings than base10. (Things get out of whack a little when going 3/4 etc)…
Instead of counting 4 , 8 , 12, 16, 20, 24, etc… - HEX makes it easier repeatable 0,4,8,C → 10,14,18,1C
→ 20,24,28,2C etc… In a 4/4 world, this is magic when trying to determine where you are in a pattern. I am horrible with math myself, and HEX just makes up for my shortfalls lol. I am actually surprised more applications do not implement HEX.
edit: fixed… told you I’m bad at math…
0, 4, 8, C though…
Once I had tried to tune the radio but all i could hear was “FFFFFF” noise…
I think the next step is adding more complex pattern command FX than the ones that have been around since the 90s. Right now you can mainly just retrigger various things, modulate volume, and modulate pitch. You can do a lot with this but adding new ones would be really nice.
DSxx a command which downsamples the sample
FMxx a command which FMs the sample against a sine or something (this would sound bad but eh)
CFxx, HFxx, LFxx, built in comb hp and lp filter commands
FBxx some kinda feedback effect
Getting super creative and dumb with the effects would breathe new life into this.
Now that VST2 is dead, I’m afraid it won’t be long before I can no longer use new plugins in Renoise. I’m sure implementing a new plugin format is no small feat, but it would be very useful. Especially for sidechaining which I use for just about everything these days, from morphing plugins to spectrogram comparisons.
I’ve found workarounds–I often run Renoise in rewire mode in Cubase so I can just route channels to fx (and bless the makers of metaplugin, but it gets cumbersome with larger tracks)
Also, I have a whole bunch of vstis that take audio input, my reaktor patches, etc, these are all midi controlled fx–I wish there was an easier way to use them in Renoise.
Renoise remains a staple of my studio, but these would really speed up my workflow in it.
Every parameter in every renoise effect can also be a pattern effect command.
You can also use pattern effect comands for VSTi parameters.
@EETTEE This does already exist, but the FM effect does not, and would be superrrrrrrr!
So, when you load in an effect, you can go to the Insert Pattern/View FX Commands here:
Since you wanted to get an FM effect, there’s only one that’s remotely close, and that the AM modulation. You can find that in the Chorus / Flanger effects - maybe others - and when you select the “Filter Type”, you can then adjust the parameters connected to it.
So, try out the filter type called “AM Sine”, tune it to the note you’re fiddling with (or don’t, listen to what works for you!), then make a some FX channels in your pattern. You’ll see the values you can input and then fiddle around with the 20/40/60/80/FF (or in between) and see if you can get a “kinda/sorta FM” sound. It’s definitely an interesting sound, and about as close as you’re gonna get to FM. The Shaper/Fold distortion models can get you a brash/harsh “kinda/sorta FM” sound too. Just gotta go easy on the values.
Like you mentioned above, if you wanted to downsample the note/hit, you could also do the same thing with the separate LoFi effect, or maybe another.
So yeah, this all exists, and your idea sparked some neat ideas in my head, so thanks for requesting this oft-overlooked feature!
Oh yeah, forgot to say, if you use the Chorus effect’s filters, you can turn the chorus effect off. Turn “Depth” all the way down, and “Dry/Wet” all the way up.
I know how to use the dsps/plugins like that, I meant adding a system that is integrated into the sample editor itself and does these things. More of a synthesis engine you can call on demand which would exist on the same “layer” as the other effects.
A better example of the type of new effects I’d want is a version of Rxx that pitches the sound up or down every retrigger. Or something like Exx that reverses the envelopes instead of retriggering them. Also some custom mappable ones which let you permanently (across all instruments and songs) bind effects together to save time. Like one which combines Txx and Vxx or Oxx and Dxx.
Well that sure does sound like a neat set of ideas! Would be useful.
you have up to 8 pattern effect command columns per track.
try combining different pattern effect commands by placing them alongside one-another.
you can arpeggiate and pitch slide at the same time for example…you could probably throw in a volume fade, a tremelo and a vibrato if you wanted too.
for my comment above im just saying, any of the sliders in any of the effects can be pattern effect commands. For example, if im in track 1 and have a filter in there, the cutoff slider will be 12xx pattern effect command…when you touch the slider it tells you what the pattern effect command for that slider is right at the bottom of the screen.
I guess for reversing envelopes you could just do it in a new instrument…copy the instrument to a new slot and just reverse whatever was in your custom envelope
did you use renoise for the tunes on your soundcloud?
I just got into Renoise and it’s a great piece of software, but definitely not at the end of it’s road.
One has to think of Renoise in a more modular way. Features like pitch/timeshift, assignable sample start/end positions and loop points, are really in my opinion features of the sampler instrument module of Renoise and not a change of the sequencing module.
Might write a more in-depht post, but the two changes Renoise should aspire two are imo:
1.) Classic Tracker Sequencing functionality has basically been perfected, too really innovative they have to change a few core principles, so it would be good to just have a “classic tracker mode” switch/button so people can use Renoise as they want. What should be thrown out the window is the concept of the line playhead only being able to be on the same line in every column. I think every column should have a independent playhead. So you could have one column that repeats a basic 4/4 Kick drum that is only 16 long without having to write or copy all the notes to all of the lines. It would also allow for easy creation of polyrhythms or you could have set a fx or pan column to a random playhead that jumps around the column randomly or even in a kind of programmed way (imagine being able to put in simple written functions to control it like “move to random step, move two steps ahead, move 5 ahead, repeat backwards”) or you could copy a melody column 4 times and then set the playback speed to different clock divisions or even attach note transpose options to the playhead, which would give you Bach like compositions.
The biggest strength of trackers is having all the notes and modulation values infront of you on
one screen and being able to quickly move between and modify them. the way this strength is used right now is still a bit nostalgic. I mean, why not have a vertical audio track which you can place samples on? why not have a drum track where you can put in dots instead of notes? why not throw the whole western note system out and let people put in formulas on how octaves should be divided? Definitely see a bright future for trackers in general. Dream would be to work on one, but I’m not that good at programming.
2.) Make the Instrument Tab more like a patchable modular system 
Renoise as it is now, I believe that it is already powerful enough to offer everything you ask for, only that you have to qualify it.
Use the phrases. There you will have several reproduction lines, a general line of reproduction in the pattern editor and other individual lines of reproduction that correspond to the phrases. Only the phrases are triggered by specific notes inside the pattern editor. You can play up to 126 phrases per instrument.
Use the Matrix to clone patterns. It is so quick and easy to clone a pattern that any request that goes in this direction is out of place.
Use the tools to enhance your capacity with this DAW.
If you want to use points instead of notes, you have the “Piano Roll Editor” tool available. You can build your tools with LUA to adjust this DAW more to your tastes. Obviously, everything has some limitations, but Renoise is broader in this sense than other DAWs, which are also much more expensive.
I agree Raul, it’s very powerful. Everyday I discover new great workflow features like the “Paste Continuously” option and the way you can extend Renoise is amazing, but requires you to use windows again. I’m just saying if one want’s to take the tracker view and it’s strengths (quick access, being able to view a lot of data at once) to another level, there’s ways one could imagine.
I think the Radium Sequencer is a good example of a piece of software that takes what’s great about trackers and tries to merge it with new features.
Looks interesting - I’ve been kinda watching Radium for a couple years now, and their sampler’s got some granularity to it, as well as Radium being able to load Pure Data patches. I tried it out, and what I do not like about Radium is its interface. It feels very “Linux-y” to me. Yeah, it works! It works just fine. Renoise just FEELS better 
I wish Renoise would have some of the extra little tidbits, and I have hope. In the meantime, Renoise does nearly everything I want from it, less the type of granular/PD I’d like. This sequencer allows me to go full on experimental electronic music, so I’m pretty happy!
Also, just figured out how to use the Rubberband timestretch utility tool… damn. Ambient music is HERE!
last time I tried radium it was all messed up, but that was a while ago on a windows pc…Im still not convinced but someone posted some radium tunes here a while back, I almost downloaded radium again just to try because they sounded and looked pretty cool, but in the end I already knew renoise at an o.k level and there is still much to learn so I just left it alone.
I noticed something seriously awesome about renoise recently. When you are re-arranging the order of samples in the instrument sample list, once you have clicked and started dragging one of the samples, you can just hit a pad on your pad controller and it will take you straight to the position you need (to place the sample you are dragging). That saved me so much time. Makes it fun getting all my samples in a ‘neat and tidy’ order.
There are so many little things people notice that could be improved but there are also many great, perfect thing which dont get mentioned…little things like
there is a ten octave range but pitch range in sampler modulation is only 8 octaves (96 semitones max range), so you couldnt slide down from highest note to lowest (this kind of thing is not the end of the world)
or
when a group of white keys which are all next to each other in the keyboard below ‘keyzones’ are all highlighted, you might think that the black keys are also highlighted, because the color that black keys change to when highlighted is not that different from black.
These kinds of small things get mentioned all the time but there are many perfectly thought out, well designed things that never get mentioned, thats all im saying.
someone should start a thread like ‘ways in which renoise easily wins over other DAWs’, instead of all these threads like ‘is this the end for renoise?’ and stuff like that. I hope not because it is the best, even people arent used to trackers (counting hex and ticks across lines).
Its the simple things that make the biggest difference 