Listening to sound feeds inspiration, it lets you imagine things, hearing the potential of sounds, possibilities through knowing your tools, effects is what I’m after (+ Dennis Bergkamp kind of timing). I’ve learned composition is an interaction between planning and playing, you can write down a design strategy, set up limits like, I dunno, only use fart sounds , but through intuitively playing with the sounds you might get better ideas and build from that.
For a start, collect sounds that inspire you, sounds you want to work with. Create your own library, pallet of options.
A library of your own instruments is cool, but can become a trap if you only collect and don’t use them in tracks .
If for the last year, you haven’t been that fruitful working with Renoise it probably is because you can’t translate your imagination into music using your current tracking skills, …plus maybe perfectionism?
You say a lack of workflow is holding you back, than start creating a workflow by using the program more often! I believe in doing.
Workflow is a mix of the rational and the irrational, meaning unconscious decisions. I don’t believe a chronological order of actions by different members in this thread is going to improve your aesthetic sensibilities. Still informative though, and can make one aware of own habits and look for improvement, but yeah… my point is workflow isn’t read.
Like Applejack says: analyze and play with other people songs. While you can’t see their use of keyboard shortcuts, speed of tracking, customs or order of operation, you can analyze the arrangement while the music is playing and get a sense of the structure. Remixing mod’s is how I started in protracker 17 years ago, fuck I’m old .
If you’re anything like me, you probably see possibilities in everything, than how to choose out of all those possibilities, millions of sounds? Aargh
Solution: stop caring about creating something ‘good’ and start listening and having fun programming and playing with effects.
Now the hippie shit aside, I don’t get your distinction in instruments with one or more samples? What do you mean with Renoise instrument? You mean samples manipulated through envelopes in the instrument editor vs samples that don’t rely on this?
Why focus on this aspect, shouldn’t it be about what the sound needs according to how you listen?