dear developers
You do realize that with the new modulation system ,having control
over each sample ,pan ,pitch and amplitude level , super flexible envelopes, renoise is not only capable of vector synthesis , but also additive synthesis
The mod .system basically has the architecture of ann additive synth .
Filling each sample with a ( harmonic.tuned )sine wave …we have an additive monster under the hood .
So please remove the 12 note polyphonic limit ( only 12 notes means only 12 partials at the same time ).
I’ve created morphing wavveforms ,by just stacking 12 ( harmonically tuned ) sinewaves and crossfading their amp.levels
I can only imagine what we can do without the polyphonic limit
Redux sales will skyrocket , you’ll then be able to advertise it as a(sample based sine )additive synth .
While we are at it , why not a real time sine wavegenerator , the mod.section beggs for a hi q. osc …it will be an additive monster synth !
Redux 'where sampling and additive synthesis merge into one streamlined package ’ Ooohboy …I am getting all wet over here
Just do it , the good thing thing is ,it is already there …just waiting to be unlocked
At least remove the 12 note poly limit
Serious , guys …
I tell you RENoise is a fu…in additive synth …
We need to get rid of the 12 note poly limit …
Don’t you get it …sine samples …harmonnically tuned ( * 1* 2* 3 of the fundamental frequencies …)
We can only get 12 partials right now ( 12 sample can be playedat the same time )
Or at least increase the limit to 50 poly …that’s 50 partials …for some nice additive pads …
All the tools are there …ampl.,pan , fine tune envelopes etc…
Looks like everyone here is only interested in samples …
Lame …( insert mental projection of eric cartman )
Well, basically you’re right. On the other hand Synthmaster claims to be an (also) additive synth even with only 8 voices per oscillator and none (except me, of course />) complains about it.
The famous Kurzweil K2000 had 3 oscillators per voice, with a 24 voice polyphony. Even the highly specialized and optimized K2500 had a limit of 192 oscillators overall. Another famous example would be the Kawai K5000, which had a limit of 64 voices (harmonics) per sound.
EDIT: Confused the K2000 with the Kurzweil K150 as THE additive synth, with max. 240 oscillators. But that actually doesn’t change anything.
For Renoise 12*12 voices means 144 voices available in summary, per track. You can even leave this limit far behind, when you use 2 tracks and afterwards just group them. That actually means, Renoise is already capable of playing in the upper league of classic additive synths. The “secret” of usable additive synthesis is the use of prepared and already grouped harmonics. That means, instead of using a single sinewave for each harmonic, you sample sets of already layered and amped harmonics of sinewaves. That’s the way the synths above work too.
I totally agree. The sounds I’ve made recently with Renoises sampler have been more interesting then the sounds I’ve made with my recently purchased Komplete 6.
I don’t know much about the 12 note polyphonic limit and how it affects the sampler, but I can follow your argument.
I definitely agree that a simple sine generator would go a long way to improving what you can do inside the sampler. It’s really an insanely capable instrument that took me by surprise. When I first started messing around with Renoise 3 I was a little underwhelmed like many were. But I was still stoked! But the more I messed around with the sampler the more potential I saw with what you could do. It’s been very inspiring for me and I feel that I’ve made huge strides in my sound design.
I’m really excited where this instrument will go and what people will do with it. Can’t wait for when we can start sharing libraries!
@ bit arts …in renoise you can only play 12 samples at one time …
Each sample is a partial spreaded out across the entire keyrange …This is surely not enough for complex additive patches …
A realistic sounding saw wave would take around 30 partials …
The wavescanning technique I posted is exactly that …crossfading bewteen harmonic single cycled waves ( 1 sine cycle, 2 cycles ,3cycles ) etc…
Think old sequential prophet vs …a fancy word would be vectorsynthesis …it’s just amplitude crosfading btween samples …it gets interesting when the samples are harmonic …
I’m making huge pads now …I love the new instr.concept …it’s great for experimental stuff
But the dev’s need to do something about the cpu hog overlined mod.envelope …It’s driving me crazy …yes we can hide it …but it needs to be optimised
The additive example I posted is adding single cycle waves to construct new waveforms …each sine is a multiple of the fundamental . http://en.wikipedia…itive_synthesis
You can construct a saw wave with about 30 sines …
Have a look at zebra or camel audio alchemy
This is when you play a note with one key.
Have you tried linking a few instruments together in the midi in properties and layering mutliple instruments?
I’m not saying this should be the everlasting solution (specially for additive synthesis design this works quite complex and awkward), but this gives you an opportunity to trigger more than 12 samples at the same time using midi equipment.
Yes vv., hmm linking multiple renoise instruments to 1 midi input .;haven’t tried that yet , still
I started this thread to remind the developers of the huge potential of the instrument editor …for additive synthesis layering of samples is essential …those are the partials …
Even for monophonic/1 note poly notes , the additive sounds ares still made out of a big number of partials …currently 12 is the limit .
So if we could override this limit inside 1 instrument it would be great .
Or just the option for a sine wave generator ( not a tunebale ringmod ) inside the instrument
/>) complains about it.