If there was much more interest and support in this tool…
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I think that is what video tutorials are for, to explain and draw more attention.Anyway thanks for making it.
For the moment, I think that with the user guide is more than enough, it includes clarifying images in movement. The guide is integrated into the tool. So you have the whole package together. But yes, the videos cost a lot of work, and as Renoise is paralyzed, with 3 years without news, it is not worth losing so much time.
@stoiximan. I am finishing the version 3 of the Piano Roll Editor, which also implies modifying and updating the user guide.After this, it is likely that I decide to release some videotutorials about this tool.The PRE tool is already mature enough to be considered high level (you know, it’s a super-tool, well-equipped, balanced, fluid and stable). I am considering that it also deserves short video tutorials by fascicles.
… …
This new version will have important things, such as the glanular selection of lines (for, cut, copy, paste) and the inclusion of banks of chords (up to 96 slots) to play or save custom chords, among many other secondary details…
@stoiximan. I am finishing the version 3 of the Piano Roll Editor, which also implies modifying and updating the user guide. After this, it is likely that I decide to release some videotutorials about this tool. The PRE tool is already mature enough to be considered high level (you know, it’s a super-tool, well-equipped, balanced, fluid and stable). I am considering that it also deserves short video tutorials by fascicles.
… …
This new version will have important things, such as the glanular selection of lines (for, cut, copy, paste) and the inclusion of banks of chords (up to 96 slots) to play or save custom chords, among many other secondary details…
So glad to hear that.Along with the Renoise update coming this is the best news in a long time
Hey Raul,
thanks for the license. Everything worked just fine. I got a lot of errors at first, but then realized that I hadn’t upgraded renoise to 3.1.1 on this pc yet. After doing that I had no more issues.
I took me a minute, but I am slowly getting the hang of it. You did some great work there. I especially like the integration of the vol/pan/dly columns.
One thing I would like to see in the future would be an option to turn on colors for notes in track view according to the column they are in.
PRE is only compatible with version 3.1.1 64bit of Renoise (hereinafter). In older versions, the Renoise API changes, and there may be errors.
PRE has a note columns display mode, which shows you 12 preset colors, one for each note column, in “NC” mode. Steps:
Make sure you have the “NC” mode activated.
In the upper bar, on the left of the buttons 1,2,3 … 12 there is a switch (turned off down, turned on up). Switch it on (up). You can see from the first note column to the 12 note columns. Use the valuebox to set the note column range, where it says “01-04 NC”. Is this what you wanted?
On the other hand, you can show two tracks to compare them, even though they are widely separated from each other. This is done with the right switch, located next to the buttons 1,2,3 … 12.
The control of the sliding bars of V-P-D is not explained in the user guide. Manipulate the controls to learn. PRE3 has many “hidden” things. If I have time, I plan to do some video tutorial. But it will be in Spanish.
Remember that many buttons have double function. You can simply click with the mouse, or hold and press the button to do something else. PRE3 has a lot of things…
Ok, I think this mode could integrate it (it would be another display mode in TR mode). Actually, what you ask is that only the notes of the selected note column are shown (the colors of the notes would be those of each track). I think this is easy to integrate. I will write it down for the next version. if I continue to have support from the users, I will continue to improve the PRE.
Thank you very much for this suggestion. I like it!
yes, I had that turned off somehow. I also finally had the good idea to change my track colors because they were all of the same grey. Now I can differentiate between tracks in the track view
I think there are still some screen refresh issues when switching between view modes but I have to play around with it some more to actually understand what should and should not happen. the slave track option is still a little mysterious to me, too
The “slave track” (or secondary track) can serve as a reference for composing in another track. For example, you can use it for a percussion track, to mark the beat, while you are writing on another distant track.
The TR mode may confuse you a bit at first. This works by “layers of colors” that overlap. It gives priority to the selected track, and then shows the notes of the tracks that are around it, from the center to the sides.
If there are many notes, it is inevitable that they overlap. Of course, if you find any strange behavior, do not hesitate to report here. If there really is a problem, I’ll fix it.
ok, I think I have it all figured out. I can really see this as a part of my workflow. Being able to see highest and lowest note of a pattern so easily is also a plus when setting up keytrackers.
Another feature idea for future versions:
instead of having a black square for note offs, fill the boxes between on and off event with a mix of bg and note event color. together with some rules that can be added, like if an instrument has autossek enabled or has pad in the name then fill all boxes below, if it’s a drum kit then only color one box etc… that would improve the readaility very much I think
If you want to increase your workflow even more, it is highly recommended to have two monitors, at least one HD for the PRE. So you have Renoise in one window and PRE3 in another and you can easily compare both, and use the window you need at all times. PRE shows a very clear picture of where the notes are between all the octaves, impossible to easily from Renoise. Until you use it and get used to it, you do not give account.
I have been struggling with this issue. In fact I have been able to do some tests, and I did not like the result too much. What I always try is to be faithful to the information that Renoise is showing. If I color other slots in the roll, between the trigger note and your note-OFF, it is tampering possible information between those slots. I try to make the slots color as little as possible, otherwise, you can saturate information inside the roll very easily.
The philosophy that I follow when programming is: the less you paint on the roll, the better. It is very easy for the roll to finish full of colors.
Another important issue to note here. Renoise allows you to flood a note column of note-OFFs continuously. Like this:
C-4
OFF
OFF
OFF
OFF
I think I remember that they have a function together with a specific effect parameter. PRE must respect this scenario. If there are several note-OFFs, PRE must show them.
that’s why I was mentioning turnig that kind off behaviour on only for certain instruments. just changing the boxes between on and off to a very dim color would already be fine
Actually, to implement it, before start, I already find 2 problems:
Analyzing the behavior within a pattern is “relatively simple” (this is false, it is actually complicated). The problem is when analyzing contiguous patterns. There may be a note in pattern 1 and its off note in pattern 2, and all slots should be colored. This is an extreme scenario, unfortunately very common.
Another scenario that is a direct problem is that switching note-off does not always turn off the note. There are notes that turn off before, because the duration of the sample is short. Then, you have represented the unreal note off. That’s why I’m still thinking about being faithful to the representation of Renoise, the pure sense of the tracker, which can only have one note per slot.
I think that deep down it’s a matter of getting used to it. If you see a black square, there is probably a note above, and that box will stop its sound (if its duration is enough), there is no more.
By the way, another detail about the representation of the note-off. Being strictly graphical, it should not be a black slot, but the entire horizontal black line, covering all octaves. But PRE reduces this to a single slot, with a function of capturing the top note, within the selected pattern. Deepening, in fact, it would not matter where you put the note-off on the roll. It’s going to stop the note that’s up there, too.
