The FT-II style (also in Renoise) bases it’s instruments upon hardcore linked samplesets.
The cons about this situation is that if you need an instrument with a different
filter curve or other things related to the Instrument properties, you are required to copy the instrument (and it’s samples) to another slot.
This means you have more instances of the same (group of) sample(s) in memory and saved in the song. (a waste of memory)
Or you can leave the instrument properties alone and adapt effects on the tracks through native sfx or vst sfx.
Another problem is sample-spanning, you only have 16 samples limitation, i know that this is for a lot of people a serious limitation, specially if you require more slots to construct one instrument.
One of the many good things i had to my benefits in Impulse Tracker was the Instrument that is constructed by a selection from a pool of samples.
You could load a batch of samples into a bank of 99 slots (or 199, don’t remember exactly) and from this list, you could link them to one or more instruments without requiring to reload the same samples elsewhere.
One of the features that saved an enormous amount of RAM.
This method also overcomes the problem that you cannot assign more than 16 samples to an instrument since you pick them from the pool.
The only limitation you have is the amount of samples you can load into the pool.
I rather have a list with 2048 sample-slots and 128 instrument slots where you can link the bunch than the current idea.
I know it is not easy to change this as it requires changing of relative routines that are based upon the sample-structures and it requires a complete Renoise song-format restructuring while this will also mean incompatability issues with previous versions.
I’m just wondering why programmers that write a FastTracker style editor always stick to this limited 16 samples per instrument idea?
What’s the magic argument for that?