Hello! I’m new to Renoise (but not to tracking in general) and I’m evaluating the demo of Renoise to see if how much I like it.
I like to collect my own field recordings, found sounds/instruments, and make other simple instruments, so something like Renoise to act as a “super-sampler” sounds right up my alley. However, I’m already stumped at the word go.
I have a cool recording of depressurizing an oxygen bomb calorimeter (has anyone else here taken a thermal engineering class?) which has a nice white-ish noise hiss with lots of sputtering. Perfect for making a nicely playable hi-hat sound, I think. However, in order to get this hat to sound how I want, I have to be able to do two things:
One, change where in the sample it starts playing each note. I can use either the sample start parameter for this, or set up various sample slices. Either way, I think I can make this work.
And two, modulate one of the amplitude envelope points so that I can use a parameter to simulate opening and closing of the hat. Along with number one, this should make a pretty nice, dynamic, playable synthetic hat. Unfortunately, this is the one thing I cannot figure out. Is it possible to change the position of a point in the amplitude envelope dynamically? If not, that leaves me left with making a large multisample set, which I would really rather not do.
Any help will be greatly appreciated! I searched all over this forum and the Internet in general, and I was unable to find an answer to this question.
You can’t modulate a point in an envelope, however, you should be able to accomplish what you want with a DSP chain.
Use a LFO, a gainer, a keytracker, and a hydra (hydra optional but might make it easier). Make a custom envelope in the LFO that adjusts the gain of the gainer. Now you can modulate the position of the LFO offset. Set the LFO to one shot and tie the keytracker to the LFO’s reset.
Now about using the hydra to make it easier, you don’t want to go over 0db with the gainer (presumably). You can use the hydra to make a easy way to control this. Tie the hydra to the gainer and make the LFO control the hydra input. Now you can set the range to max out at 0db in the hydra. As an additional benefit, you can draw a linear envelope in the LFO (much easier to do than a curve) but make it curve by the scaling setting in the hydra.
Wow, thank you for the quick reply! I’ll definitely give this a try. I’ve re-read your comment a few times, and I think I get the idea. It does seem like DSP chains, in addition to what the instruments give you, are essential to sound design in the program.
I really want to like Renoise, because it looks like it’ll really fit my found sound/found instrument/field recording sensibilities.