Wow
Yeah, there’s no way we are going to have patterns upwards to a million lines 
But it just goes to show why the trick that dblue pointed out is so useful (using the Gxx command to “trigger once”). You can do a lot of evolving stuff with a single pattern + matrix muting.
Also: @2 daze j: I think you would find euclidean rhythms quite cool - they can produce almost any thinkable basic polyrhythm.
Check out xStream for an implementation of this idea 
Also: @2 daze j: I think you would find euclidean rhythms quite cool - they can produce almost any thinkable basic polyrhythm.
Check out xStream for an implementation of this idea
I wont be able to mess around with the scripting. My poor brain really can’t think like that. LOL. I will definitely try and use the glide command and chop up more samples 
I overlooked the volume column GF command.
Gx - Glide towards given note by x semitones. A value of F will make the slide instant.
Interesting. Instant glide lets the phrases sustain / loop indefinitely instead of retriggering.
I understand now why the pattern length is irrelevant.
I was thinking, if a polyrhythm were to be made up of only 16 line, 12 line and 9 line phrases then a pattern length of 144 would work out nicely
( 9x16=144, 12x12=144, 16x9=144 ).
The most common polyrythm, or the example that I have heard about quite often before, is 3/4 over 4/4.
The full polyrythm cycles every 24 beats.
Eight sets of three beats and six sets of four beats ( 8x3=24, 6x4=24 ).
Thankyou. I will look up ‘least common multiple’.
I have no idea how to use lua yet.
1 Like
I have no idea how to use lua yet.
All that information is here:https://github.com/renoise/xrnx
I remember when this ability first appeared in 2.8? I believe it came with the arranger tracks. At first you could just access the scripting windows. Now they are off by default. I don’t mind. I may alter the config file to see them.
As far as scripting in renoise goes… from what I can see is that from 2.7 - to 3.1 the program became incredibly modular. and many of the community ideas that were tools, kind of became native to the program itself.
Oh boy this glide trick for not retriggering the phrase is awesome .
Even workds on vst instruments and midi out .( but only when assigned to phrases )
Interesting. Instant glide lets the phrases sustain / loop indefinitely instead of retriggering.
Technically any glide value will work here, so the speed itself is not important.
Applying glide to a sustained sample that is already playing simply prevents the note from being retriggered on subsequent plays.
In this case, a looped phrase is also treated just like a sustained sample that will essentially play forever until you manually stop it, so the glide trick works nicely here, too.
Thats a nice trick. Another way to use the glide commands other than for gliding.
So glide command is also ‘prevent phrase from being retriggered when pattern loops’ command.
Thats a nice trick. Another way to use the glide commands other than for gliding.
So glide command is also ‘prevent phrase from being retriggered when pattern loops’ command.
WHich is why this trick is simply amazing .
Multiple phrases of different length looping endlesly could only be achieved by setting a trigger once and create multiple empty clips ( autoseeked )
This little trick gives the same result within a single pattern .
Some Poly-rhythms :
3 over 2 ( 6 ‘quarter note’ / 6 ‘beat’ cycle )
2 x 3 = 6 ( 2 bars of 3 quarter notes / beats each )
3 x 2 = 6 ( 3 bars of 2 quarter notes / beats each )
3 over 4 ( 12 ‘quarter note’ / 12 ‘beat’ cycle )
3 x 4 = 12 ( 3 bars of 4 quarter notes / beats each )
4 x 3 = 12 ( 4 bars of 3 quarter notes / beats each )
5 over 4 ( 20 ‘quarter note’ / 20 ‘beat’ cycle )
4 x 5 = 20 ( 4 bars of 5 quarter notes / beats each )
5 x 4 = 20 ( 5 bars of 4 quarter notes / beats each )
6 over 4 ( 12 ‘quarter note’ / 12 ‘beat’ cycle )
2 x 6 = 12 ( 2 bars of 6 quarter notes / beats each )
3 x 4 = 12 ( 3 bars of 4 quarter notes / beats each )
7 over 4 ( 28 ‘quarter note’ / 28 ‘beat’ cycle )
4 x 7 = 28 ( 4 bars of 7 quarter notes / beats each )
7 x 4 = 28 ( 7 bars of 4 quarter notes / beats each )
9 ‘eighth notes’ / ‘half beats’ per bar over 4 ‘quarter notes’ / ‘beats’ per bar ( 36 ‘quarter note’ cycle / 36 ‘beat’ cycle )
8 x 4.5 = 36 ( 8 bars of 4.5 quarter notes / beats each, or, 8 bars of 9 eighth notes / half beats each)
9 x 4 = 36 ( 9 bars of 4 quarter notes / beats each)
Mad props to anyone with the skills to play these polyrhythms live, whether it be on keyboard, drums or maybe even ragtime style guitar.
Its so hard to count and split the left hand and right hand ( or fingers ) in that way.
The time signatures by themselves would not be polyrhythms. we have to combine the signatures to get polyrhythms. Again we to look to jazz – two or more meters:https://www.moderndrummer.com/article/january-1978-jazz-drummers-workshop-polyrhythms/
3/4 in and of itself is considered simple time as is 2/4 and 4/4
As far as playing polyrhythms on guitar, bass, keyboard, and this is related to a post I edited in this thread - my last post in the thread that simply says, “edit… etc,” and it is basically a deleted post:https://forum.renoise.com/t/how-african-polyrhythms-are-the-root-of-european-club-music/49150
Polyrhythm is really something that exists in the lands of drums and percussion - obviously, rhythm instruments. While rhythm is a big part of playing guitar I think it would be a little difficult to play two rhythms on guitar simultaneously without 3 hands.
A drummer in a rock band has two hands, and two feet. Allowing for example: a 4/4 to be played on the kick, a 6/4 on the pedal of a hat, and two hands you could theoretically play 3/4 on the snare, and hit your toms in 12/4
Now you can begin to layer the instruments over that in different time signatures if you want, but at some point you loose groove. So if the guitarist comes in with a rhythm in a completely different time, and the bassist, and the keyboardist. You have, “experimental music,” that may not groove.
Groove, and whether something is in the pocket are also things to consider with music, and polyrhythm.
A drummer in a rock band (…)
The mere mention of this made me immediately think of the late, great John Bonham, legendary drummer from Led Zeppelin.
Here’s a great example from an outtake recording of “Fool in the Rain”: (Fffffaaackin’ ell!)
He really gets going at around 1m:30s
Quite a complex blend of layers, opposing timings, shuffle and swing grooves, all flowing so damn buttery smooth and effortless… the man was a machine!
And here’s an excellent little mini-docu from the Polyphonic channel discussing what made John so bloody good:
The mere mention of this made me immediately think of the late, great John Bonham, legendary drummer from Led Zeppelin.
Here’s a great example from an outtake recording of “Fool in the Rain”: (Fffffaaackin’ ell!)
My all time favorite Zep Song!!! JB was a genius. RIP
It would be a kool #feature to be able to draw polyrhythms & odd time-signatures as #geometrical forms using the X/Y pad, into #renoise. 
Some people here are confusing polyrytms with polymeter
Some people here are confusing polyrytms with polymeter
I hope this helpshttps://www.moderndrummer.com/article/january-1978-jazz-drummers-workshop-polyrhythms/
its a misnomer, and I was aware of it
Some people in here are confusing Masons with Freemasons & some are even confusing those with Free Macaroni & Cheese. #smh 
I hope this helpshttps://www.moderndrummer.com/article/january-1978-jazz-drummers-workshop-polyrhythms/
its a misnomer, and I was aware of it
Lack of attention lately ?