Something Ive wanted to control over for a long time is sample Looping points via automation.
I am pretty certain some artists like Aphex Twin were doing this in the 90s using whatever crazy tools he had. Most samplers let you change the Sample Start, Loop Start and end points, but those parameters are not exposed for automation/control over time. The first one ive seen that lets us do this Amigo by PotenzaDSP, and Im not even sure it was intentional at first. It would be awesome if Renoise could exposed Sample Start, Loop Start point, Loop End point and Sample End points to Automation. Or make a way for us to bind them to Macros.
This allows for some very interesting results over time that we canāt quite do with the usual tracker setup, nor most other DAWs as far as I know. Its just kind of hilarious, I donāt think most people realize we can finally do this using Amigo, or the potential of it and its awesome. Please bring this to Renoise too so we can do it using the built-in sampler as well with all of its tracker features
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To add to this, I can see that it could pose an issue when it comes to using many slice markers, but if even with Amigo, this really shines when using individual drums/samples, not full breaks with slice markers. So i could see there being some limitations to this.
@Ghost_Train Oh, me too - I keep asking for stuff like this. The āLoop Controlā is so close to being one āgrainā of a rudimentary type of granular synthesis. Give us something like 10-12 of them to run sound through, and it would be close to the Sakonda method of granular. Just beautiful glitchiness and some really gorgeous ambient if worked properly. I can almost do this - if it were just a plain Doofer, we could make one in the effects section by making a bunch of sends and just routing it. No dice.
@taktik I donāt know if thereās a method to convert the code from the delays into a āsamplerā or āloopā recorder (instead of a delay), but if even those could be converted to something like that, weād have another way to make it by chaining them. I already tried with the delays, and it just comes out sounding like a bunch of delays - too spacey/echo-y, not a loop.
The problem with the term āgranularā nowadays seems to be everybody just āneedsā 100+ grains. I find it disappointing that itās primarily used in the cloud method, instead of all the other ways it could be used. Itās almost become a guitar effect staple, and itās almost always paired with delay and reverb - as if soggy ambient is its only purpose.