Why there are a lot of pre-computation, when automating the bpm value with track automation works without any issues? The command simply increase or decrease the bpm value by value x. Nothing fancy to do here or do i miss something? Dont forget, we can already automate bpm in renoise, which would also causing pre-computation. Just asking 
Everything related to bpm has to be adjusted, to name a few:
synchronized parameters like a line synced delay device
Plugins with arpeggiators that depend on bpm (effects and instruments!) have to be informed of the change.
Autoseek for every sample that has it enabled
song length timer.
Also all the TPC and LPB actions have to be retuned into the new BPM value.
That’s just a couple i can think of right now, but there might perhaps be a lot more than just that.
For some of them, doing it on the fly will cause artifacts. But updating the bpm involves more than just adjusting the song tempo.
Just adding a really basic video player would be so awesome. All the rewire makeshift solutions are not working for me…
+1 + loop on/off in song arranger.
Nu additions
Thanks guys for working that hard to make renoise a masterpiece of music production software.:
Here is my 2 cents to improve Renoise:
1-
In the Pattern Editor > In the right-clic menu wihen notes are selected > with the “Create Phrase from selection” function > being able to create phrase from multiples instruments because, right now, we can create a phrase while only one instrument is selected.
2-
In that same context menu it would be nice to have a render to new sample the events we selected
3- In the instrument sampler the “autoslice” function often create a marker offsetted of the real begginning of the attack. I dont know if it would be possible to add different “mode” through differents algorythms to analyse and then get a proper cutting of the sample…
Or I can just continue to ajust the markers… its not that “time consumming”…
4-
In a much further development, it would be awsome to have a modular programming engine like Max/msp Jeskola Buzz, Psycle or what the guys at bitwig studio plans to do, integrated in renoise. (But for now, im a pretty happy customer of renoise.)
5-
A new audio device inspired by the buffer device “repeat”, but that can reorder its content with a step-like interface that would be automatable. The memory length would be variable like .125, .25, .5, 1, 1.5, 2, 4 bars…
6-
A loudness meter beside the master peak meter.
it would be really neat of you could use the arranger to select and operate on pattern data that is smaller than the length of a full pattern.
this is mainly based on recent composition work i’ve done in sunvox. it seems like this track data selection feature in the arranger is very similar to sunvox’s design, but the current limitation of having to ‘snap’ selection and placement to the starts of patterns is a bit limiting (not that it’s keeping me from using the hell out it 
).
better instrument filters …most important thing in a sampler .
If you guys don’t get this , what the use of developing renoise any further ?
Serious
better instrument filters …most important thing in a sampler .
If you guys don’t get this , what the use of developing renoise any further ?
Serious
Mmh. I heard this before. That might sound stupid, but I always wonder what the difference between a good and a bad filter actually sounds like.
I would really appreciate if someone could put up two audio examples of the same sound once played with bad filters and once with good ones.
I don’t have the time for making comparisons, but the eardrum piercing shrieking sound Renoise produces with some of its filters on high resonance settings is dangerous. Maybe some consider it a feature 
, but I think it should be prevented in its design…
Regarding good sounding filters, I’ve always been fond of the free Frohmage filter from Ohmforce. I own quadfrohmage and I think it is quite good.
meh… learn to use filters. i don’t think renoise’s filters should be child proofed so that people can twiddle the sliders without having to think about what they’re doing.
meh… learn to use filters. i don’t think renoise’s filters should be child proofed so that people can twiddle the sliders without having to think about what they’re doing.
limiting the amplitude at full resonance range so the dc offset isn’t tilting in the scopes to infinity and destroying monitors isn’t child proofing imo, it sounds like crap and comes across cheap. You can draw an envelope in the instrument editors filters, automate or accidentally click on the slider so it reaches the ‘danger-zone’ quite easily even if you know how filters work. Once experienced with headphones on, you’ll treat with more care for sure…
I don’t have the time for making comparisons, but the eardrum piercing shrieking sound Renoise produces with some of its filters on high resonance settings is dangerous. Maybe some consider it a feature
, but I think it should be prevented in its design…
oh yes i had recieved some bad resonance pain in my ears, and a thougt its pretty scary stuff 
im trying allways use peak limiter thingy because of accidental resonance and audio input feedback
Djeroek is absolutely correct, even self-oscillating filters aren’t supposed to sound like that.
Haha, the filters in renoise aren’t stable enough at hi res? haven’t noticed yet…
Anyways, wanna make me buy renoise, und update again and again, and even be willing to pay more for it than it costs now? Do some of the following:
-
real plugin support with arbitrary number of input/output channels. routing devices to interconnect.
-
modular routing interface with boxes to interconnect would be optional for me, the way it’s handled now works good enough for “modular” routing (if the point above would be implemented). maybe group-collapsable send channels, and ability to place sendchans between tracks.
-
pure audio tracks, displaying shrunk waveforms in the pattern view.
-
ability to view multiple automation lanes simultaneously and time corellated. next to each other, or in the same window with different colors. maybe even view note/audio data of selected track(s) in the back of those window, or 90° rotated automation data in track view. i wish to really tweak automations, doesn’t work like it’s done right now without these features.
-
maybe even a better sequencer, possibly like jeskola buzz style. The one right now feels like a toy without real visual feedback of what data you’re actually shifting around. ok it’s a tracker, but anyways.
-
some more midi love - i can’t map aftertouch or pitchbend to parameters? duh. i can’t record midi automation at high resolutions, while with manual/realtime stuff is possible, wha?
-
yah, some internal plugins suck, why note make up open binary native plugin interfaces giving people the possibility to produce better stuff than the builtin? real native stuff taking advance of parameter routing stuff, instrument modulation/fx chain stuff and routing and such might bloom up and make renoise even more attractive to freaks. People complain they don’t have a native synth stuff, why not open api to let it be done, and let it be driven by a tracker style spirit with porta and fx commands instead of midi?
Already looking into the tracktion direction, but it seems like they can’t meta-device style parameter/automation mangling right now? also i want hex columns to program Musik… 
Faster modulation lfos, 20hz is not fast enough for me
Faster modulation lfos, 20hz is not fast enough for me
That would perhaps need sampleresolution/cv-style modulation to get the desired effects without side-effects. And then it’d be up to the individual plugins to support such high resolution modulation. I’m puking everytime when for example pitchbend or modulation for a synth isn’t smoothed in it’s effects on sampleresolution, or at least close to. Zippernoise effect, or in case of lfo heavy aliasing. “Normal” Control ports aren’t made for such “abuse”.
Atleast for pitch lfo modulation it should go to 100hz or more. I think this would still be useful and sometimes “side-effects” can be useful, too.
limiting the amplitude at full resonance range so the dc offset isn’t tilting in the scopes to infinity and destroying monitors isn’t child proofing imo, it sounds like crap and comes across cheap. You can draw an envelope in the instrument editors filters, automate or accidentally click on the slider so it reaches the ‘danger-zone’ quite easily even if you know how filters work. Once experienced with headphones on, you’ll treat with more care for sure…
I have experienced it with headphones on.
It sucks for sure and it makes me treat the filter with a light touch, but I like it as it is.
As a person who also writes signal processing algorithms (albeit for video), I tend to favor simpler functions. They don’t have a lot of the warm, fuzzy, bottom wiping of more expensive ones, but they tend to introduce less processing artifacts, behave more intuitively and use up less system resources.
Thanks for the awesome release of 3.0.
Some wishes for me are left:
- GUI on OSX is still somehow slow in some situations. E.g. take the EatMe-Mode song: In mixer view I clearly can see how the framerate drops to maybe 20-30fps. Also switching the tabs somehow lags. It’s not a show stopper, but could be better, in my opinion.
Just out of curiosity, which Mac do you have?