If you download Renoise today on a computer with no other software, you cannot begin making synth-based music. You are 100% bound to using samples. On top of that, you cannot timestretch your samples.
I love Renoise, but what you’ve said is simply not true.
I hope that Renoise follows the current trend of providing musicians with a modular audio/control environment.
I realize that he was referring to tools(and that those tools exist), but he also mentioned performance, which assumes real time control. Unless im mistaken, neither of those tools support a real time workflow.
Regardless, the existence of one app does not make another obsolete. Live is an amazing piece of software, as is Renoise.
In general sense that is true. On a personal base, this can differ ofcourse. I can do without other apps, i do have fun when combing Renoise with other apps.
Gaybleton is for grannies
If hardcore tracker guys equal only people that make semi-music consisting of beeps at varying pitches… and/or drumbreak samples rearranged very randomly up to the point where all rhythm is lost… then who cares about them?
When Renoise has native timestretch, loop automation and something equivalent to drum racks / instrument racks I will fully make the switch. For now the best workflow for me is Ableton rewired with Renoise…
Ableton drum racks are amazing, I really wish for something like that in the next Renoise…
wow, this thread got super shitty.
Well, that camp may not be a loss per se. In my definition, a hardcore tracker guy is anyone who prefers to program his own drum sequences rather than just loading some 128 BPM pre-processed loop and then timestretching it to fit some random-pushing-of-pads workflow.
The hardcore tracker spirit is not using audio tracks, timestretching, etc. Could be an exception to the rule, of course. But primarily The Hardcore Tracker Guy™ is actively transferring the music directly from his mind, rather than adapting his button-pressing movements to auditive stimuli and making hodgepodge arrangements based on fluids and flux.
If Renoise devs have decided to go more “Live” for 3.0, then so be it. I’m pretty sure they will have created something awesome that will also be useful for people who’re not working with pad & slider-based peripherals.
Maybe Renoise has merged with Bitwig? 
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I think you should check out how quality producers actually use the software and rethink that. I don’t know anyone who simply loads up loops or audio tracks and uses them as they are in some setup where what they do after that is arbitrary. I know a lot of people who record or sample their own loops and audio tracks, timestretch them, cut them up, resequence them, etc.
I personally want to be able to record my roommate playing a sick beat on his drums, timestretch it, cut it up, resequence it, and make something badass out of it.
Independent manipulation of pitch and speed is something that is, to me, pretty essential, and as I’ve said several times, I really really really really really really really want it in Renoise. I don’t want to play live in Renoise without it, and it’s a huge roadblock for a lot of the things I want to do while producing.
I couldn’t agree more. A major tenet of my workflow is to generate my own drum loops by any means, and then adapt them/re-sequence them. This way one is able to get originality, as well as an insane amount of control, flexibility and improvisation. Renoise’s ability to sequence and effect samples in ways that are hard or not possible in other environments is something that brings me back consistently. The more flexibility that can be added here, the better!
Renoise hooks up to Bluetooth from the computer and to the electric kettle so I can turn the kettle on without getting up and then get a notification when the water is ready. It would make work-flow a lot faster. Thanx.
I feel a little bit crazy after reading that, but I think you may be right ???
+1 (million)
I really don’t understand the obsession with time-stretching. In its current state it is fucking useless and all the major DAWS time-stretching sounds like shit, especially ableton who are meant to be the pioneers of ‘elastic audio’. I don’t have a problem with the concept but until someone starts doing it well (i.e. inaudible with no obvious artifacts) I can’t see that there is much to get excited about? Considering how much discussion there is from supposed audiophiles regarding hi-spec monitors, acoustic treatments and maxed-out sampling frequencies, I’m amazed by the enduring obsession with such (currently) flawed technology
Absolutely, you nailed it.
@Rex and @2 daze j
the other day my friend showed me this elastic time-stretching on a sample track we were working on together and it sounds cool on paper but the artifacts it leaves are pretty nasty sometimes. in short i too can live without that kind of feature until you can perfectly stretch the audio at different points without those artifacts.
For me, it’s for playing live that’s the main thing. I need to be able to match tempos of rendered tracks without changing the pitch so I can mix between songs in a set.
I don’t think that will ever be possible. Shortening/speeding up loops, perhaps, to some extent,
but STRETCHING audio without artifacts is simply impossible, even with insane algorithms. It’s like scaling up images. no algorithm can correctly guess what to fill the new empty bytes with.
Time stretching can be very useful when done tastefully on things that don’t require sharp transients. I’m really hoping the devs will be adding LuaJit for real-time tools more than anything though.
I’d like to get time stretching for experimental stuff so artifacts are cool.