I’ve been using Renoise for a long time, and we’ve often discussed potential new features on the forum. Recently, I came across an interesting tool on GitHub that I think could be a great addition to Renoise. It’s a system for morphing between two sound fragments, which could really enhance sound processing capabilities.
Additionally, this tool could be used for sound resynthesis, allowing a transformation from a regular sample into a resynthesized fragment. This not only opens up more creative possibilities but could also help reduce the file size for storage on hard drives.
Could the Renoise team consider reaching out to the developer of this tool and possibly integrating their technology into the program? I think it could open up a lot of new possibilities for users.
I’d love to hear your thoughts!
Example
Additionally, I would like to point out that this plugin currently seems abandoned and is just sitting there unused. It would be great to give it a second life and find a way to integrate it into our favorite application.
For now you could try the morph processes in the cdp tool, though it’s an offline process and not that simple to set-up as moving around a x-y axis with the mouse.
I think the zynaptiq morphing plugins come closes to the kyma system.
yes you are right. and I have these instruments. But the problem is that they work more like effectors. Because they have a different processing algorithm. Kyma creates a sound profile from the selected instrument, as does this instrument, which causes far fewer artifacts. That is, in general, this engine can be used as a synthesizer, which many people ask about.
It may be that I simply do not have the necessary knowledge, so please let me know if I am wrong.
I am not a member of the development team, so this is probably not an issue that concerns me too much, but I naively imagine that a compelling answer to the following question would be necessary for the fulfillment of your request. What do you think?
Do you mean to incorporate GPLv3 plugins into Renoise’s standard functionality?
Or negotiating with GPLv3 software owners for commercial use of the source? Really?
Also, aren’t those more of a wavetable synthesizer feature than a sampler or tracker feature?
I’m not sure, but it seems to me that if there are existing plug-ins, then they should be used.
Aren’t there many synthesizer plug-ins that have such functions?
That way, there is no need to resolve conflicts in the spec or code or test man-hours to merge it with an existing feature.
What is the significance to developers and users of spending significant man-hours to implement it anew rather than using an existing plugin that is already complete?
Of course, just because software already exists that has the functionality that Renoise seeks to implement does not mean that it makes no sense to do so, However, there must be some reason that feels reasonable.
You have two questions: one relates to bureaucracy, and the other to technology. Regarding the bureaucracy, I’m not as well-versed in that area, but based on my experience with the M8 Tracker and Arturia’s instruments (MicroFreak, MiniFreak), which used open-source code (Mutable Instruments), there haven’t been any issues.
As for the plugin functionality that you believe Renoise might copy, that’s not entirely the case. Renoise is primarily a powerful sampler, and everything related to synthesis is typically added through VST, AU, and other plugins. I don’t see it as copying functionality but rather as an opportunity to expand Renoise’s internal tools, which would enhance its sound design potential.
The idea is to have a core system that can be controlled with existing tools (meta-devices). I’ve spent a lot of time exploring the possibilities of creating sound forms using various processing effects and meta-devices (Key Tracker, Hydra, Formula Controller, etc.). Within Renoise, this has allowed me to create a wide range of sounds, yielding significant musical results and a sound that is truly unique. However, much of this potential is hidden in “dark corners” and requires time and compromises that are not hard to fix but could help turn Renoise into an even more creative tool.
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Also, keep in mind that despite the large number of tools that perform the same functions, we always choose what is more convenient for us.
Morphex is GPL-licensed. As @tkna implied, incorporating GPL software into a closed-source piece of software is illegal without a specific agreement being made with the original author.
Mutable Instruments’ code is MIT-licensed, so it actually could be included in Renoise or any other software.
The hardware thing is a separate issue, as even GPL code can generally be included in hardware without permission.
Very sorry, but it is again GPLv3, and if Renoise uses that source, Renoise has to open all sources.
That basically means that Renoise’s business is likely to be destroyed beyond repair.
This is a dangerous situation commonly described as GPL contamination.
Mean-spiritedly, I imagine, you may be aware of such things and have the idea that if you cheat, you won’t be found out, but that is too risky for us.
I am sorry, but I do not feel that this is an ethically acceptable stance to take.
I hope the above is my misinterpretation off the mark.
Yes, I understand what you are talking about, but this is just information and a field for reflection. In general, the idea of resynthesis has long been in the general field, these examples simply show how they can be implemented. I am sure that Steinberg or Sonic Charge have implemented this using their own algorithms, but the basis is the same fundamental research.
the author of the analyzer also did not make it a commercial product, but only a utility for his tool.
very cool article vch which explains how it all works
in short, any signal can be cut into many small pieces in the form of spectral peaks. and then write down the scenario for reproducing the volume of each such peak. having the exact position of each harmonic and the volume scenario per unit of time, it can be more accurately transposed while maintaining the length of the instrument and avoiding the artifacts of a regular sample.
