Atm there is specially one reason, that’s responsible for making XRNIs sound completely static and exactly the same with every keystroke: Samples are always retriggered at their start with every keystroke. That of course makes sense for a lot of instruments, but it doesn’t by far for all and it specially doesn’t, when you try to create the sound of “alive” synthesis.
The new retriggering of envelopes via pattern command was a nice try to get rid of this issue. But because of the ramping in envelopes it doesn’t really have the desired effect for every instrument. What would help here, are different samples modes. There are several modes, that come to my mind.
Simply set a random starting point for the sample.
Most times these modes would make sense in combination with loops only. But there’d be no disadvantage in also allowing them for non-looped samples. In fact for non-looped samples this would open new possibilities, too. So I didn’t talk about “loop modes” here.
Already one of these modes would be a great enrichment for the sound of the native instruments. Having all of them available, would just be awesome.
Another idea to add and still standing:Round robin based on velocity layers (pick a random velocity layer in a range (top/mid/bottom) to play the sample assigned to that layer)
Another thing that could be added is granular hussle. (This works well with leads/chords/pads)
Yes and no. Actually more “no”. The glissando can be used for the sample frequency only. But then you run again into the problem with retriggered envelopes and you’d also have an unwanted portamento effect of a few milliseconds at least.
I know ghosting. But it doesn’t do, what it’s supposed to sound like in this case. The envelope NEEDS to be retriggered. Otherwise it doesn’t sound like a new played note, but instead like a Legato.
I admit, I haven’t tried that yet. But what would I do with 1 tick per line? Beside the fact, this messes up the whole pattern structure, in combination with a retriggered envelope this would end up in a disastrous different sound.
well of course setting ticks per line to 1 can result into disaster in lots of scenarios. I seldom do this “locally”, id est: for some lines only. Reducing the number of ticks per line reduces the steps in which the commands get executed; if you reduce the number of steps to 1, every tick-based command (such as glissando) will be executed entirely at the first (unique) tick of the line (thus resulting into an immediate glissando). In general, the less the number of ticks per line, the more “robotic” certain sounds become
give it a try and see if it can solve your problem, but use it carefully
I can’t set 1 tick per line, because I’m running more than 1 track and 1 instrument in each song. This would mess up everything else. Sadly it’s not really an option. But thanks anyway.
I’ve done all three of these- manually. They can be done with effects column commands, some need concentration but if you make a column of offset commands numbered 00 through fe in a track you’ll get “continuous.”
There’s a command that will shuffle the numbers up and give you “random” and your own careful observation of start and stop points will give you “free.” Possible in Renoise 1.9.
But it doesn’t do, what it’s supposed to sound like in this case. The envelope NEEDS to be retriggered. Otherwise it doesn’t sound like a new played note, but instead like a Legato.