Normally you’re stuck using the start timing of a sample that’s imposed by the waveform itself. However, this video looks at one method of making the timing both random and automatic.
Song Download: http://duncanhemingway.com/downloads/rsst1.xrns
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Thanks for the great videos, really appreciate this and all the other videos as well!
Nice 
Phrase randomization is a useful one for all kinds of generative techniques!
Subbed 
Cool idea & video!
Not a criticism of you, of course, Achenar. But randomised timings aren’t the greatest. I would love to have “informed randomness”.
Random start timings are exactly that, random. When you hear actual people play-in all the instruments while listening to what’s already there you get some different. There is variation in the timing, yes. But they are responding to the existing parts. Which is a different, more cohesive feeling than from randomised timings. Which are, by their nature, arbitrary.
The same is true for a good live band. Their individual performances feed of each other. Shaping the feeling of tune their playing.
Ps. I don’t understand how people can live in the slow-motion world of 4lpb. I’m at 12lpb all the time and sometimes at 24. Easy access to triplets. And a lot finer control of note placement.
Normally you’re stuck using the start timing of a sample that’s imposed by the waveform itself. This video looks at another method of making the timing both random and automatic.
Song Download: http://duncanhemingway.com/downloads/rsst2.xrns
3 Likes
Improving on the method created in Part 1, this version has a few advantages. Due to some extra considerations though, accurately setting up the LFO is a little trickier.
Song Download: http://duncanhemingway.com/downloads/rsst1.xrns
3 Likes
@Achenar
Thank you for creating these videos: I’m glad others are discussing about native sampling starting position/phase randomization concept that were previously discussed including creating granularization concepts within Renoise’s native instrument engine.
For all who are not familiar with these: I would definitely watch these videos, apply and fool around with these concepts when you have a chance. For me, it really changed the way how I approach sound design with instruments and makes me more aware of different parameters that makes an instrument standout in a huge or subtle ways.
Speaking on behalf of most long time Renoise users: pray we get native granular/wavetable capabilities in Renoise.
4 Likes
Oh nice, I hadn’t seen that regranulizer video before. Cool to see people using it
1 Like
ingenious use of the LFO there!
one issue i’ve noticed with the probability phrase technique is it ‘breaks’ NNA behaviour and the instrument Mono button. which makes sense as in practice the notes are coming from different columns.
anyone found a workaround?
ultimately a ‘true monophonic’ or (as has been suggested elsewhere) a total instrument polyphony limit paramater would be helpful here.