Sync Lfo Start To Pattern Start

I am looking for a toggle switch of this nature so the LFO doesn’t time differently every time I play, and thus fall out of step with the beat.

The moment we can do this, some HOT basslines will happen, because of the nice HIGH resolution this new custom LFO affords us, and because of the ease of automating many parameters using the one curve.

reset function suggested by dblue here:


+1 for which part of this thread? You can already sync LFO to the start of a pattern, as Bantai has already explained. If your LFO Device is #1 in the chain then put the command 1600 into the pattern to reset it. Now the LFO will behave the same way every time. I rely on this feature heavily myself since I sometimes use 3 or 4 LFOs per track for subtle variations, and I want them to sound identical each time I render to WAV.

If you were talking about including LFO->Reset as a parameter which can be set via automation envelopes, then yes, it’s a +1 from me too :D


ah yeah the +1 is for the LFO->Reset as a parameter , didn’t notice the x600 thing though, just checked it out and it works!

yeah, if it’s the number 1 in the dsp it’s 1 and if it’s 2nd it’s 2… yeah I get it now.

how come it aint in the commands manual by the way?

Because it’s not really a special pattern command or anything like that. The LFO->Reset function is actually just another normal parameter in the device. When you put x600 into the pattern, you are simply setting the value of a normal parameter. You are telling the LFO: “parameter 6 = 0”.

If you think of the LFO->Reset as a horizontal slider instead, perhaps it makes more sense. You are simply changing this “slider” to a new value, and that causes the LFO to reset itself to that new position. You can actually do x600, x640, x680, x6FF, etc., and it will reset the LFO to those different positions. If you want the LFO to start sweeping down instead of up, for example, you can experiment with resetting it to different positions until you get what you need.

ah yeah thanks for clearing that up, haveing said that you’ve just opened up a new world to me on renoise! holy crap the possibilties! so EVERY (just Native?) DSP has so many parameters? that is soo cool. and I just noticed the info at the bottom left of the screen which tells you which parameter you are on.


by the way though, with reset, why does reset need a value at all? I would of that 00 would be just a reset of maybe even 01? like 00 = off 01 = on

brb, just going to play around…

EDIT: just re-read what you typed, i understand now.

I’d already started to draw this so I’ll post it anyway, maybe it’ll help some other users.


That’s handy! :)

wow!!! that’s great dblue, thank you very much for that, understand it now.

it’s funny how the LFO’s sinewave is pictured as a triangle wave. but hearing them both you probably couldn’t tell the difference.

So you can do [this](^sh~f^lala Cover Inbelievable+((EMF±+Unbelievable)).mp3~pt^lala__) :P

For a long time now I’ve been thinking of improving the mixes of the Renoise Demo Songs. Many mixes were bugging me with their unnecessary harsh sound and peak distortions. I thought it would be a good to present some slicker mixes to go with the public final of 1.9. My aim is to have these songs sounding as professional as Renoise is under the hood - a whole-complete sonically impressive presentation. Here are the links to my new mixes:…Prawniiixe.xrns…for%20Gold.xrns…0OnMyMind2.xrns…-%20Orient.xrns…20Overlook.xrns…20-%20Rotu.xrns…hePath2005.xrns

I’ve tried the best I can to keep to the original compositions as possible, mostly tweaking the sonic elements. It is of no intention whatsoever to offend the composers at all, merely just to bring out the song’ inner potental.

Most of these were very simple to do, only requiring EQ and level work. On ‘Digging For Gold’ I tried out a little production trick which I may blog about later within In:Depth: I removed 30 samples off all acoustic recordings to roughly compensate for ADC latency issues (probably the digital filtering group delay aspect). I think you’ll agree that the guitars and vocals sound tighter, more in tune (!) and alive-sounding :) I’m sure I could get it tighter sounding if I knew what ADDA chip Sewen was using…

The trickiest track was Keith303’s, which was a total surprise because I though it initially sounded one of the best. There were lots of odd little clicks and scratches hidden deep within the percussion tracks that required some ninja work to get out without changing the sonic characteristic of the drums. There were also some nasty harshness in metallic tones which needed filtering - this was something that was also an issue I may have under-addressed in Itty’s ‘Overlook’ song too.

Anyway, enjoy the new mixes. It’s my hope that these can be used in place of the current mixes that come with the public download. If this is not desired or adopted, no problem :)

Cool! … I’ll check em out later today ;)

downloading now

well what to say ? i’m learning a lot of these tweaked versions, they all feel better balanced to me, just more solid overall, like you said yourself it brings out the max potential. i guess that’s exactly what a mixing engineer should do no ? :D

some new demo/tutorial songs is always nice (also because of the new stuff in 1.9)

Yeah, I think the existing Demo Songs should always be updated with each release. Things change in the program, and the sound of certain devices shifts…

I think you did a great job Foo? and thanks for taking the time to do so!

And yeah, crytek, more demo songs are needed. How about we collab on one…

We can call it something cheesy, like ‘Tokyo Sunrise’ or ‘Japan Ninja Boyz’

Hahaha. That would be mint.

Sweet mate. Call me when you get back mate.

If I dont answer its because I am at work or taking a shit. Those two activities pretty much are my life. Haha.

I went on your Virb page btw. I really enjoyed your tracks!

Thanks for the positive feedback. I’m actually keen to find out what the ‘more official’ people think ;)

I guess it also should be mentioned to prevent confusion with some people:

These are NOT mastered as a commercial mix would be, instead should be considered as pre-masters. This might be why they sound a little too ‘flat’ and ‘quiet’ to some listeners.

Naturally if I were to master them I would not be using Renoise plugs. I’d be using nice plugs for warm limiting and using tuned-exciters.

Guess you should “puuump up the volume”, my onboard soundcard is crap.

I just heard digging for gold, sounds very good. :)