A renoise-wide setting to switch between # mode (default) and flat mode… only thing different between the two modes, is how the names of the notes are displayed, ie C,C#,D,D#,E,F,F#,G,G#,A,A#,B -vs- C,Db,D,Eb,E,F,Gb,G,Ab,A,Bb,B
(it’s kind of awkward to track in, say, C minor with Eb’s displayed as D# and so on)
that only works for major and minor though, doesn’t it? non diatonic signatures require a mix of sharps and flats:
would be great if one could rename the twelve pitches to any combination of two alphanumeric symbols. i have some old post about it here somewhere. 
/>
Not much of use in Renoise, you need both types to get a bit an idea of which notes you speak of while in practice program-wise it is shit to realise though and easier to define just one symbol, an A# is exactly the same as a Bb. Only the hierarchical basenote has a different offset. If you want to output your Renoise song to paper then it makes more sense, because musicians having to perform this live will have an easier idea from which note to transfer to (from above to lower or from lower to higher). But in even that context it still is extra luxury on top of the symbol itself.
Of course not always ALL notes are going to show up like they would “ideally” …but at least you get the jist(gist?) of the scale right.
…anyway, just throwing it out there =)
Not much of use in Renoise, you need both types to get a bit an idea of which notes you speak of while in practice program-wise it is shit to realise though and easier to define just one symbol, an A# is exactly the same as a Bb. Only the hierarchical basenote has a different offset. If you want to output your Renoise song to paper then it makes more sense, because musicians having to perform this live will have an easier idea from which note to transfer to (from above to lower or from lower to higher). But in even that context it still is extra luxury on top of the symbol itself.
Even Protracker back in 1991 allowed the user to choose between displaying sharps or flats. Having a quick keyboard shortcut to toggle this would be useful from a visual standpoint, especially in Renoise where tracks can have separate note lanes for chords. Anyone with even a light musical education thinks of chords like C-E-G, F-A-C, G-B-D (not to mention 9th, 11th and 13 chords etc…) which remains consistent regardless if they’re major or minor. It makes it easier to quickly see for a variety of different key signatures. Other keys like G# minor/major are rarely seen; I’d much prefer to work in Ab minor/major.
Very much +1, and this was the basis of my feature request. I always liked this advantage that FT2 and related trackers had over Scream Tracker, IT, Schism, etc. when tracking in keys with lots of flats.
Sorry for bumping this old post, but I’d still love to see this feature implemented, even if it’s just purely graphical. I even activated my antique account to say this. Just a toggle between # and b like in FT2 etc. would be great.
Still +1 from me. Anyone who says this is useless doesn’t know the first thing about music theory.
i do not find it exactly useless, but i am aware of music theory, quite a lot… your claim doesn’t make sense to me at all and sounds harsh and just wrong.
option would be nice but it is not such a PITA
my argument: if you are so good at music theory, this obstacle should not be something that could bother you also.
cheers
…so, following the same logic, if you’re so good at reading text you should have no problem reading a book with 1/3 of the letters mixed up, if you know which letter replaces which, right?
first of all i do not care if my sampled instruments are in same tonality - i do not bother to tune them all to same scale. i would just play/write/program it straight without thinking about in which scales they are actually (notation-wise) . over yeras on academy i simply rely on outcome of music sentence as a whole rather by note-for-note. if you cannot understand that, it’s okay also.
. yes because i do not score symphony within renoise. I’d use a score sheet for that. and because i mostly take everything for instruments and i do not care if it says e# or f, since I’m interested in final sound, and not for my partiture to look nice.
after all - most of people who make music are not even familiar with theory. in this realm, so it depends on your personal preference. It’s not something that you can judge off people if they know music theory at all. is music theory needed for one to make music and be happy/satisfied? definitely no.
ps. what’s in one’s head, you cannot judge if it’s right or wrong if the music is good in some sense. it’s an art, not a rule that you should just obey all the time if you do not feel like.
And how would you label notes(pitches) in between if you are not using 8th note scales? microtonal etc
Cheers
I agree with you! You’re absolutely correct, not everybody makes music in the same way. Some folks just need it one way, some folks another way. A sharp or flat toggle would be useful, but is unnecessary.
i agree that it would be nice option, yes i know ft2 has it, but there are (by my personal opinion) other topics that are much more important (also to me lol)
op:if you are good at theory, and you have issues between d# and eb, you need more sight-reading(idk how it’s called in English - to play directly from sheet). Especially some scene music which among other genres/epochs doesn’t have clear tonality sense…
Sorry i wasn’t in a very good mood the other day.
Speaking of microtonics/temperaments, you do know that some temperaments (pythagorean, etc) don’t use the exact same pitch for notes that are enharmonic in modern/equal temperament, right? For example pythagorean tuning is based on simple integer fractions, so a perfect fifth is always an exact 2:3 ratio between the two note frequencies, while in equal temp it gets very close to 2/3 but not exactly. Some other differences are even wider, like iirc major sevenths, min/maj 2nds etc.