yes very nice beta. fun good times and new sounds for a good time. a million thanks to the dev team.
incredible update, so many workflow and usability improvements!!
just one question, where did “copy into new instrument” go when right clicking on a part of a waveform? I only see “copy into new sample”… i had been using the other one quite a lot
otherwise, thanks a ton, makes my everyday life much easier :))))) happy user.
edit: realize it’s already been filed as a bug. great!
bla
^ seconded. MIDI routing of plugins is priceless. I bloody love this program, best thing going in digital music making these days. Cthulhu + phrases + stepper + vowel filter just kills me.
One question I have: why is it possible to send MIDI note on/off and some other types of MIDI message from a VSTi (e.g., loading Cthulhu in one instrument, sending its output to another instrument, whose MIDI out is routed to the outboard synth input), but not sysex? (e.g., Ctrlr has to send its output directly out of itself to the outboard’s input, skipping “over” Renoise – you can’t route it through Renoise, far as I can tell). Just wondering, it’s not at all a big deal for me since Ctrlr routes directly out just fine (must disable MIDI thru though!), but routing it through Renoise (so, for ex., I can monitor sysex output in the Renoise MIDI monitor) would be of course useful.
New filters its awesome!!! Very clear and soft! Amazing
^ seconded. MIDI routing of plugins is priceless. I bloody love this program, best thing going in digital music making these days. Cthulhu + phrases + stepper + vowel filter just kills me.
One question I have: why is it possible to send MIDI note on/off and some other types of MIDI message from a VSTi (e.g., loading Cthulhu in one instrument, sending its output to another instrument, whose MIDI out is routed to the outboard synth input), but not sysex? (e.g., Ctrlr has to send its output directly out of itself to the outboard’s input, skipping “over” Renoise – you can’t route it through Renoise, far as I can tell). Just wondering, it’s not at all a big deal for me since Ctrlr routes directly out just fine (must disable MIDI thru though!), but routing it through Renoise (so, for ex., I can monitor sysex output in the Renoise MIDI monitor) would be of course useful.
I’d be very happy to be able to enter sysex directly (even without VSTi) to renoise phrases to send out sysex to my more obscure synths - not just note/cc/program change messages.
is it possible that the audio engine / audio output is set to the wrong frequency?
if i use 192khz and look into nugens virtualizer, the plug shows freqs up to 96khz and abruptly stops there.
i dont know if this is a problem with nugens plug or if it’s the audio engine.
this also happens with voxengo’s span. if i use 96khz in the audio setup, and look at span,
the freq abruptly stop at 48khz instead of going up to 96khz.
no matter if directx or asio. the visual analysing always stops way before the real set frequency.
using 48khz, the visuals stop at 22khz. whats going on? 
Wow! Just … wow.
Thanks and kudos to the TEAM! B)
is it possible that the audio engine / audio output is set to the wrong frequency?
if i use 192khz and look into nugens virtualizer, the plug shows freqs up to 96khz and abruptly stops there.
i dont know if this is a problem with nugens plug or if it’s the audio engine.this also happens with voxengo’s span. if i use 96khz in the audio setup, and look at span,
the freq abruptly stop at 48khz instead of going up to 96khz.no matter if directx or asio. the visual analysing always stops way before the real set frequency.
using 48khz, the visuals stop at 22khz. whats going on?
I think you are doing afaulty reasoning… The ear can only hear up to ~15khz. Higher sample rates are only used to reduce aliasing and improve quality. Aliasing is a kind of reflection around half the sample rate. So the higher the rate the higher the reflection point. Maybe wrongly explained, but it’s fully normal that the frequency range in eqs, analyzers etc doesn’t change.
But beware, lots of plugins acting different on different sample rates. even lfos in synths tend to be faster then or whatever, due implementation errors. Happens also on synths by well known vendors. So I would stick with a samplerate within one project. Renoise on the other side is totally samplerate independent / without bugs as far as I know.
I think you are doing afaulty reasoning… The ear can only hear up to ~15khz. Higher sample rates are only used to reduce aliasing and improve quality. Aliasing is a kind of reflection around half the sample rate. So the higher the rate the higher the reflection point. Maybe wrongly explained, but it’s fully normal that the frequency range in eqs, analyzers etc doesn’t change.
But beware, lots of plugins acting different on different sample rates. even lfos in synths tend to be faster then or whatever, due implementation errors. Happens also on synths by well known vendors. So I would stick with a samplerate within one project. Renoise on the other side is totally samplerate independent / without bugs as far as I know.
ye i know that. but using a higher samplerate gives you a finer resolution for / in some synth. which is listenabel!
It’s the Nyquist rate thing, basically you need twice the sample rate to properly sample given frequency - so to sample 48khz sound you need 96khz sample rate. you can also look backwards at it, so at 192khz max frequency you can actually sample is 96khz etc, so it’s all correct.
so it’s correct that nugen visualizer and voxengo span are stopping @ 48khz eventhough i’m using 96khz?
lol, you haven’t read about the sampling theorem yet?
If you use some sampling rate, divide it by two, that’s the maximum frequency that can be present in the sampled material (in that rate). So:
48khz sampling rate = highest possible freq is 24khz
96khz rate = highest freq is 48khz
some viz plugs won’t show anything above 18-22 khz anyhow. Human hearing usually stops from around 12-18khz, or around 8 khz for people who listened to gabba techno at full volume in enclosed cabins for extended periods of their lives, maybe around 10 khz if the gas masks they’ve been wearing had some ear-protecting properties.
Just an observation on the Nyquist point.
Whilst that point marks “the highest possible frequency that can be [reliably] sampled”, pushing right to the Nyquist point does result in a not insignificant effect on the resulting sample. Aiming for neared three-times the highest frequency to be sampled is much better. So 48kHz is three times 18kHz. Thast means thet between 18kHz and 24kHz, there is some small degredation (primarily attenuation). A little attenuation above 18kHz is pretty much irrelevant.
There are some arguments for sampling higher (oversampling), though beyond 96kHz is largely pointless. Even then, there’s essentially no point in maintaining that rate once the signal is sampled.
There are some disadvantages to high sampling rates. Certainly the CPU has to work X-times as hard to achieve the same result, or putting that another way, it can do only 1/X the amount of useful work. They also take X-times the space on disc.
There are some articles around that expand on this:
http://www.hometracked.com/2007/02/03/sample-rate-and-the-myth-of-accuracy/
http://tweakheadz.com/16-bit-vs-24-bit-audio/
On a loosly related issue, why do so many people claim to prefer “the vinyl sound” to CDs.
Quite possibly they don’t! Quite possibly this is the real issue:
Wouldn’t a 48kHz frequency signal be just a square wave at 96kHz? One sample up, one sample down? I mean, for instance you would have to up the sample rate quite much for a smooth sine.
Or am i getting this wrong?
Ah, fx per column. Excellent!
. . . . 
This + midi routing FTW!!!
Another thing I noticed, “batch rename” in instrument sample list. Had to check 3.0.1 to be sure I just somehow didn’t notice it in there before, but it’s new to 3.1. Works great, and is so useful, thanks guys for adding that! Nice that it adds root note as well, though it doesn’t seem to do it in instruments with more than one velocity layer, those it numbers. Would love to see batch convert bit depth and sample rate but there are some tools for that.
Another thing I noticed, “batch rename” in instrument sample list. Had to check 3.0.1 to be sure I just somehow didn’t notice it in there before, but it’s new to 3.1. Works great, and is so useful, thanks guys for adding that! Would love to see batch convert bit depth and sample rate but there are some tools for that.
tons of little touches about the place with this release!
ye i know that. but using a higher samplerate gives you a finer resolution for / in some synth. which is listenabel!
so it’s correct that nugen visualizer and voxengo span are stopping @ 48khz eventhough i’m using 96khz?
Wouldn’t a 48kHz frequency signal be just a square wave at 96kHz? One sample up, one sample down?
It’s important to remember that we’re only drawing the waveform’s raw sample points in the editor, not necessarily how the reconstructed audio will look/sound during playback. When you’re zoomed all the way in to those points in the waveform, it ends up looking square simply because we have no other data to draw between those points.
Under ideal conditions and with perfect signal reconstruction, those two sample points — one sample up, one sample down — will be heard as a sine wave tuned precisely to Nyquist frequency (half the sampling rate).
The video Pat linked to above provides quite a nice quick overview. In particular, it mentions the signal reconstruction at around 1m53s.
For a more in-depth look at exactly what’s going on, you should definitely check out Monty Montgomery’s excellent Digital Show and Tell video. (Also mirrored on YouTube if you prefer.)
EDIT:
Hey blue, thanks for the nice, video. I never understood noise shaping in dithering, here it is so easily explained, just nice.
I have a question now:
Is Renoise’s dithering shaped?
It seems to be a huge improvement for noise ratio.
Hi all,I have a request about the phrase editor:
why not add the ability to play legato or staccato, I mean that if you program a phrase with sample n# (like wavestation) and you play a chord, then if you add a note to this chord, I want that the phrase for the new note doesn’t start from beginning but from the same current chord point…
thanks very much